Film Partner Opportunities - Visit Santa Cruz County
Mario Cerrito and Michael Joy Partner To Make Horror Film ...
Chris Bourke - Partner / Cinematographer - Westfolk Film ...
Partner (2007) - IMDb
The Silent Partner – review cast and crew, movie star ...
NF Partner Film v2 on Vimeo
The Silent Partner (1978) - IMDb
Chernin Entertainment, Spotify Partner To Percolate Film ...
Chernin Entertainment, Spotify Partner To Percolate Film & TV Projects From Podcasts HBO Max Sets Holiday Carrie Underwood Special With Songs From Her Upcoming Holiday Album ‘My Gift’ View All Directed by Daryl Duke. With Elliott Gould, Christopher Plummer, Susannah York, Céline Lomez. A timid bank teller anticipates a bank robbery and steals the money himself before the crook arrives. When the sadistic crook realizes he's been fooled, he tracks down the teller and engages him in a cat-and-mouse chase for the cash. Mario Cerrito and Michael Joy Partner To Make Horror Film, “The House In The Pines” A collaboration of horrific proportions partners award winning filmmaker, Mario Cerrito and HNN manager, Michael Joy, for the making of the feature film, “The House In the Pines”. Partner-Films built partnerships with injury law firms creating Day in The Life documentaries and later expanded to filming depositions. These videos have helped in settling personal injury cases. Over the next few years, Partner-Films extended their portfolios to include creating trailers, documentaries, commercials, music video and photography. Partner / Cinematographer Westfolk Film Co. Feb 2016 – Present 4 years 8 months. Austin, Texas Area. President / Cinematographer Bourke Productions, LLC. May 2013 – Jan 2016 2 years 9 months This is 'NF Partner Film v2' by HelloScience on Vimeo, the home for high quality videos and the people who love them. The Santa Cruz County Film Commission can assist productions with sourcing local crew, support services, and equipment rentals while in town available to commercial film productions who have chosen Santa Cruz County for their project. These local film industry contacts are resources for producers, production managers, location scouts, coordinators and others who make decisions on Directed by David Dhawan. With Salman Khan, Govinda, Lara Dutta, Katrina Kaif. A 'Love Guru' assists other males, woos a widowed single mother, but becomes embroiled in controversies. Film On Demand . Film on TV ... Newsletters. holidays. RT shop. money. book club. The Silent Partner Daryl Duke (1978) 100min. 18 Certificate ADVERTISEMENT. Share on Facebook; Share on Twitter ...
2020.02.07 00:20 scriptsopranoSayGoodnightKevin
YouTuber Say Goodnight Kevin is the accountability partner nobody asked for, but he's the accountability partner the Christian film industry needs! Come share memes, jokes, and thoughts with other SGK fans in the Say Goodnight Kevin subreddit!
2012.11.11 02:53 ABugsDeathlaughing behind the scenes
Welcome to America's only subreddit. Whether you're looking for a writing partner, information for scripts, or just to read other spec scripts we have it all here. Primarily focused on television specs but film specs are always welcome.
2020.09.24 20:08 labyrinth_psychology[TOMT][FILM][2000/10s] British film about an aging man whose former girlfriend’s body has just been recovered in the alps after disappearing decades before.
I’m trying to remember the name of a film I watched a few years ago as I wanted to recommend it to someone. Not sure on the year but it is relatively recent - I don’t think it could be much older than a decade. It was not a big budget film nor did I see much press about it at the time. The film features an elderly British couple who are seemingly happy, as the husband approaches a milestone birthday. But the husband receives a surprise notification that the body of a former partner from before he knew his wife has been recovered from the alps, decades after she died in an apparent freak accident, which causes significant turmoil in their life and relationship.
2020.09.24 17:59 chuethan0Wong Kar-wai Has Written a Chungking Express Sequel
Reports have surfaced from many Chinese media outlets (via Reddit) that Wong Kar-wai has scripted a sequel to his beloved 1994 romance Chungking Express. Titled Chungking Express 2020 and set in Chongqing in 2036, the China Film Administration approved the script back in April, which means it can move ahead. Here’s a brief synopsis:
In 1990s Hong Kong, the lovelorn Policeman No. 223 encounters a blonde female assassin. They only spend a short time together overnight. The Policeman No. 663, getting over a failed relationship, has his life gradually changed by a “dreamer” who broke into his apartment. In Chongqing in 2036, young Xiaoqian and May are unwilling to be matched with their genetically-assigned partner, and are determined to find their own “destiny.”
2020.09.24 17:00 unpleasantmoviesWays of Seeing, the play directed by Pia Maria Roll starring Hanan Benammar and Sara Baban
Taking its title from John Berger's TV series and book, the play examines how think tanks try to influence opinions on issues like immigration and surveillance - and how the privacy of the rich is of national importance while the rights of minorities and the poor are regularly transgressed upon. The play is a sort of documentary theater from the perspective of Hanan Benammar and Sara Baban who are immigrants to Norway, and how they perceive far right ideas being normalized in society. As part of the work, they shift the skeptical gaze back on participants of these think tanks, by filming their house facades and featuring it as part of the scenography. It attracted huge amounts of controversy in Norway in 2018, leading to media outrage as a series of attempts at terror action and threatening cutout letters where sent to the house of the justice minister. Now in 2020, there is a court case going on against Laila Bertheussen, the ministers partner, for staging fake threats in an apparent attempt at framing the people behind the play. The surrounding scandal is almost like a meta-play to the work itself, and the ongoing trial is continuously revealing how networks of people from media and politics collaborate to create antagonized portrayals of minorities and creatives in society. It is particularly striking how the opinions in the media shifted from indignation and condemnation of the play, to a more sympathetic stance and eventually an actual examination of its artistic merits. It should come as little surprise that many of the most opinionated never saw the play in the first place.Its gained some attention in international news, though I suspect a lot more will follow. Here is a recent article from The Guardian: https://www.theguardian.com/world/2020/sep/08/norway-former-ministers-partner-laila-anita-bertheussen-on-trial-fake-threats?CMP=Share_AndroidApp_Other&fbclid=IwAR2uaeSl-fnIk5GSSW9eFkwFh0F6-fzEeHVC8kfWr5hPkQ5rdI1luM5P57M I made a podcast episode about this whole situation, talking to actor and co-writer Hanan Benammar about how the play came to be and everything that followed. Check it out here: https://soundcloud.com/user-840889577/um-conversations-hanan-benammar-ways-of-seeing ...or you can find it at any podcast provider by searching for Unpleasant Movies and Ways of Seeing.
2020.09.24 16:36 unpleasantmoviesWays of Seeing, the play directed by Pia Maria Roll starring Hanan Benammar and Sara Baban
Taking its title from John Berger's TV series and book, the play examines how think tanks try to influence opinions on issues like immigration and surveillance - and how the privacy of the rich is of national importance while the rights of minorities and the poor are regularly transgressed upon. The play is a sort of documentary theater from the perspective of Hanan Benammar and Sara Baban who are immigrants to Norway, and how they perceive far right ideas being normalized in society. As part of the work, they shift the skeptical gaze back on participants of these think tanks, by filming their house facades and featuring it as part of the scenography. It attracted huge amounts of controversy in Norway in 2018, leading to media outrage as a series of attempts at terror action and threatening cutout letters where sent to the house of the justice minister. Now in 2020, there is a court case going on against Laila Bertheussen, the ministers partner, for staging fake threats in an apparent attempt at framing the people behind the play. The surrounding scandal is almost like a meta-play to the work itself, and the ongoing trial is continuously revealing how networks of people from media and politics collaborate to create antagonized portrayals of minorities and creatives in society. It is particularly striking how the opinions in the media shifted from indignation and condemnation of the play, to a more sympathetic stance and eventually an actual examination of its artistic merits. It should come as little surprise that many of the most opinionated never saw the play in the first place. Its gained some attention in international news, though I suspect a lot more will follow. Here is a recent article from The Guardian: https://www.theguardian.com/world/2020/sep/08/norway-former-ministers-partner-laila-anita-bertheussen-on-trial-fake-threats?CMP=Share_AndroidApp_Other&fbclid=IwAR2uaeSl-fnIk5GSSW9eFkwFh0F6-fzEeHVC8kfWr5hPkQ5rdI1luM5P57M I made a podcast episode about this whole situation, talking to actor and co-writer Hanan Benammar about how the play came to be and everything that followed. Check it out here: https://soundcloud.com/user-840889577/um-conversations-hanan-benammar-ways-of-seeing ...or you can find it at any podcast provider by searching for Unpleasant Movies and Ways of Seeing. Enjoy!
Reminder: Do NOT buy from 3rd Party Marketplace Seller on Ebay/Amazon/Newegg (unless you want to pay more). Assume all the 3rd party sellers are scalping. If it's not being sold by the actual retailer (e.g. Amazon selling on Amazon.com or Newegg selling on Newegg.com) then you should treat the product as sold out and wait.
Below is the compilation of all the reviews that have been posted so far. I will be updating this continuously throughout the day with the conclusion of each publications and any new review links. This will be sorted alphabetically.
NVIDIA says that the RTX 3080 is the gaming card and the RTX 3090 is the hybrid creative card – but we respectfully disagree. The RTX 3090 is the flagship gaming card that can also run intensive creative apps very well, especially by virtue of its huge 24GB framebuffer. But it is still not an RTX TITAN nor a Quadro. These cards cost a lot more and are optimized specifically for workstations and also for professional and creative apps. However, for RTX 2080 Ti gamers who paid $1199 and who have disposable cash for their hobby – although it has been eclipsed by the RTX 3080 – the RTX 3090 Founders Edition which costs $1500 is the card to maximize their upgrade. And for high-end gamers who also use creative apps, this card may become a very good value. Hobbies are very expensive to maintain, and the expense of PC gaming pales in comparison to what golfers, skiers, audiophiles, and many other hobbyists pay for their entertainment. But for high-end gamers on a budget, the $699 RTX 3080 will provide the most value of the two cards. We cannot call the $1500 RTX 3090 a “good value” generally for gamers as it is a halo card and it absolutely does not provide anywhere close to double the performance of a $700 RTX 3080. However, for some professionals, two RTX 3090s may give them exactly what they need as it is the only Ampere gaming card to support NVLink providing up to 112.5 GB/s of total bandwidth between two GPUs which when SLI’d together will allow them to access a massive 48GB of vRAM. SLI is no longer supported by NVIDIA for gaming, and emphasis will be placed on mGPU only as implemented by game developers.
So there we have it. The RTX 3090 delivers - at best - 15 to 16 per cent more gaming performance than the RTX 3080. In terms of price vs performance, there is only one winner here. And suffice to say, we would expect to see factory overclocked RTX 3080 cards bite into the already fairly slender advantage delivered by Nvidia's new GPU king. Certainly in gaming terms then, the smart money would be spend on an RTX 3080, and if you're on a 1440p high refresh rate monitor and you're looking to maximise price vs performance, I'd urge you to look at the RTX 2080 Ti numbers in this review: if Nvidia's claims pan out, you'll be getting that and potentially more from the cheaper still RTX 3070. All of which raises the question - why make an RTX 3090 at all? The answers are numerous. First of all, PC gaming has never adhered to offering performance increases in line with the actual amount of money spent. Whether it's Titans, Intel Extreme processors, high-end motherboards or performance RAM, if you want the best, you'll end up paying a huge amount of money to attain it. This is only a problem where there are no alternatives and in the case of the RTX 3090, there is one - the RTX 3080 at almost half of the price. But more compelling is the fact that Nvidia is now blurring the lines between the gaming GeForce line and the prosumer-orientated Quadro offerings. High-end Quadro cards are similar to RTX 3090 and Titan RTX in several respects - usually in that they deliver the fully unlocked Nvidia silicon paired with huge amounts of VRAM. Where they differ is in support and drivers, something that creatives, streamers or video editors may not wish to pay even more of a premium for. In short, RTX 3090 looks massively expensive as a gamer card, but compared to the professional Quadro line, there are clear savings. In the meantime, RTX 3090 delivers the Titan experience for the new generation of graphics hardware. Its appeal is niche, the halo product factor is huge and the performance boost - while not exactly huge - is likely enough to convince the cash rich to invest and for the creator audience to seriously consider it. For my use cases, the extra money is obviously worth it. I also think that the way Nvidia packages and markets the product is appealing: the RTX 3090 looks and feels special, its gigantic form factor and swish aesthetic will score points with those that take pride in their PC looking good and its thermal and especially acoustic performance are excellent. It's really, really quiet. All told then, RTX 3090 is the traditional hard sell for the mainstream gamer but the high-end crowd will likely lap it up. But it leaves me with a simple question: where next for the Titan and Ti brands? You don't retire powerhouse product tiers for no good reason and I can only wonder: is something even more powerful cooking?
When we had our first experience with the GeForce RTX 3080, we were nothing short of impressed. Testing the GeForce RTX 3090 is yet another step up. But we're not sure if the 3090 is the better option though, as you'll need very stringent requirements in order for it to see a good performance benefit. Granted, and I have written this many times in the past with the Titans and the like, a graphics card like this is bound to run into bottlenecks much faster than your normal graphics cards. Three factors come into play here, CPU bottlenecks, low-resolution bottlenecks, and the actual game (API). The GeForce RTX 3090 is the kind of product that needs to be free from all three aforementioned factors. Thus, you need to have a spicy processor that can keep up with the card, you need lovely GPU bound games preferably with DX12 ASYNC compute and, of course, if you are not gaming at the very least in Ultra HD, then why even bother, right? The flipside of the coin is that when you have these three musketeers applied and in effect, well, then there is no card faster than the 3090, trust me; it's a freakfest of performance, but granted, also bitter-sweet when weighing all factors in. NVIDIA's Ampere product line up has been impressive all the way, there's nothing other to conclude than that. Is it all perfect? Well, performance-wise in the year 2020 we cannot complain. Of course, there is an energy consumption factor to weigh in as a negative factor and, yes, there's pricing to consider. Both are far too high for the product to make any real sense. For gaming, we do not feel the 3090 makes a substantial enough difference over the RTX 3080 with 10 to 15% differentials, and that's mainly due to system bottlenecks really. You need to game at Ultra HD and beyond for this card to make a bit of sense. We also recognize that the two factors do not need to make sense for quite a bunch of you as the product sits in a very extreme niche. But I stated enough about that. I like this chunk of hardware sitting inside a PC though as, no matter how you look at it, it is a majestic product. Please make sure you have plenty of ventilation though as the RTX 3090 will dump lots of heat. It is big but still looks terrific. And the performance, oh man... that performance, it is all good all the way as long as you uphold my three musketeers remark. Where I could nag a little about the 10 GB VRAM on the GeForce RTX 3080, we cannot complain even the slightest bit about the whopping big mac feature of the 3090, 24 GB of the fastest GDDR6X your money can get you, take that Flight Sim 2020! This is an Ultra HD card, in that domain, it shines whether that is using shading (regular rendered games) or when using hybrid ray-tracing + DLSS. It's a purebred but unfortunately very power-hungry product that will reach only a select group of people. But it is formidable if you deliver it to the right circumstances. Would we recommend this product? Ehm no, you are better off with GeForce RTX 3070 or 3080 as, money-wise, this doesn't make much sense. But it is genuinely a startling product worthy of a top pick award, an award we hand out so rarely for a reference or Founder product but we also have to acknowledge that NVIDIA really is stepping up on their 'reference' designs and is now setting a new and better standard.
This commentary puts the RTX 3090 into a difficult spot. It's 10 percent faster for gaming yet costs over twice as much as the RTX 3080. Value for money is poor when examined from a gaming point of view. Part of that huge cost rests with the 24GB of GDDR6X memory that has limited real-world benefit in games. Rather, it's more useful in professional rendering as the larger pool can speed-up time to completion massively. And here's the rub. Given its characteristics, this card ought to be called the RTX Titan or GeForce RTX Studio and positioned more diligently for the creatoprofessional community where computational power and large VRAM go hand in hand. The real RTX 3090, meanwhile, gaming focussed first and foremost, ought to arrive with 12GB of memory and a $999 price point, thereby offering a compelling upgrade without resorting to Titan-esque pricing. Yet all that said, the insatiable appetite and apparent deep pockets of enthusiasts will mean Nvidia sells out of these $1,500 boards today: demand far outstrips supply. And does it matter what it's called, how much memory it has, or even what price it is? Not in the big scheme of things because there is a market for it. Being part of the GeForce RTX firmament has opened up the way for add-in card partners to produce their own boards. The Gigabyte Gaming OC does most things right. It's built well and looks good, and duly tops all the important gaming charts at 4K. We'd encourage a lower noise profile through a relaxation of temps, but if you have the means by which to buy graphics performance hegemony, the Gaming OC isn't a bad shout... if you can find it in stock.
Summarizing the GeForce RTX 3090's performance is simple -- it's the single fastest GPU on the market currently, bar none. There's nuance to consider here, though. Versus the GeForce RTX 3080, disregarding CPU limited situations or corner cases, the more powerful RTX 3090's advantages over the 3080 only range from about 4% to 20%. Versus the Titan RTX, the GeForce RTX 3090's advantages increase to approximately 6% to 40%. Consider complex creator workloads which can leverage the GeForce RTX 3090's additional resources and memory, however, and it is simply in another class altogether and can be many times faster than either the RTX 3080 or Titan RTX. Obviously, the $1,499 GeForce RTX 3090 Founder's Edition isn't an overall value play for the vast majority of users. If you're a gamer shopping for a new high-end GPU, the GeForce RTX 3080 at less than 1/2 the price is the much better buy. Compared to the $2,500 Titan RTX or $1,300 - $1,500-ish GeForce RTX 2080 Ti though, the GeForce RTX 3090 is the significantly better choice. Your perspective on the GeForce RTX 3090's value proposition is ultimately going to depend on your particular use case. Unless they've got unlimited budgets and want the best-of-the-best, regardless of cost, hardcore gamers may scoff at the RTX 3090. Anyone utilizing the horsepower of the previous generation Titan RTX though, may be chomping at the bit. The GeForce RTX 3090's ultimate appeal is going to depend on the use-case, but whether or not you'll actually be able to get one is another story. The GeForce RTX 3090 is going to be available in limited quantities today -- NVIDIA said as much in yesterday's performance tease. NVIDIA pledges to make more available direct and through partners ASAP, however. We'll see how things shake out in the weeks ahead, and all bets are off when AMD's makes its RDNA2 announcements next month. NVIDIA's got a lot of wiggle room with Ampere and will likely react swiftly to anything AMD has in store. And let's not forget we still have the GeForce RTX 3070 inbound, which is going to have extremely broad appeal if NVIDIA's performance claims hold up.
In Summary: this card is a real giant, especially at higher resolutions, because even if the lead over the GeForce RTX 3080 isn’t always as high as dreamed, it’s always enough to reach the top position in playability. Right stop of many quality controllers included. Especially when the games of the GeForce RTX 3090 and the new architecture are on the line, the mail really goes off, which one must admit without envy, whereby the actual gain is not visible in pure FPS numbers. If you have looked at the page with the variances, you will quickly understand that the image is much better because it is softer. The FPS or percentiles are still much too coarse intervals to be able to reproduce this very subjective impression well. A blind test with 3 perons has completely confirmed my impression, because there is nothing better than a lot of memory, at most even more memory. Seen in this light, the RTX 3080 with 10 GB is more like Cinderella, who later has to make herself look more like Cinderella with 10 GB if she wants to get on the prince’s roller. But the customer always has something to complain about anyway (which is good by the way and keeps the suppliers on their toes) and NVIDIA keeps all options open in return to be able to top a possible Navi2x card with 16 GB memory expansion with 20 GB later. And does anyone still remember the mysterious SKU20 between the GeForce RTX 3080 and RTX 3090? If AMD doesn’t screw it up again this time, this SKU20 is sure to become a tie-break in pixel tennis. We’ll see. For a long time I have been wrestling with myself, which is probably the most important thing in this test. I have also tested 8K resolutions, but due to the lack of current practical relevance, I put this part on the back burner. If anyone can find someone who has a spare 8K TV, I’ll be happy to do so, if only because I’m also very interested in 8K-DLSS. But that’s like sucking on an ice cream that you’ve only printed out on a laser printer before. The increase in value of the RTX 3090 in relation to the RTX 3080 for the only gamer is, up to the memory extension, to be rather neglected and one understands also, why many critics will never pay the double price for 10 to 15% more gaming performance. Because I wouldn’t either. Only this is then exactly the target group for the circulated RTX 3080 (Ti) with double memory expansion. Their price should increase visibly in comparison to the 10 GB variant, but still be significantly below that of a GeForce RTX 3090. This is not defamatory or fraudulent, but simply follows the laws of the market. A top dog always costs a little more than pure scaling, logic and reason would allow. And the non-gamer or the not-only-gamer? The added value can be seen above all in the productive area, whether workstation or creation. Studio is the new GeForce RTX wonderland away from the Triple A games, and the Quadros can slowly return to the professional corner of certified specialty programs. What AMD started back then with the Vega Frontier Edition and unfortunately didn’t continue (why not?), NVIDIA has long since taken up and consistently perfected. The market has changed and studio is no longer an exotic phrase. Then even those from about 1500 Euro can survive without a headache tablet again.
RTX 3080 was heralded by many as an excellent value graphics card, delivering performance gains of around 30% compared to the RTX 2080 Ti, despite being several hundred pounds cheaper. With the RTX 3090, Nvidia isn’t chasing value for money, but the overall performance crown. And that is exactly what it has achieved. MSI’s RTX 3090 Gaming X Trio, for instance, is 14% faster than the RTX 3080 and 50% faster than the RTX 2080 Ti, when tested at 4K. No other GPU even comes close to matching its performance. At this point, many of you reading this may be thinking something along the line of ‘well, yes, it is 14% faster than an RTX 3080 – but it is also over double the price, so surely it is terrible value?’ And you would be 100% correct in thinking that. The thing is, Nvidia knows that too – RTX 3090 is simply not about value for money, and if that is something you prioritise when buying a new graphics card, don’tbuy a 3090. Rather, RTX 3090 is purely aimed at those who don’t give a toss about value. It’s for the gamers who want the fastest card going, and they will pay whatever price to claim those bragging rights. In this case of the MSI Gaming X Trio, the cost of this GPU’s unrivalled performance comes to £1530 here in the UK. Alongside gamers, I can also see professionals or creators looking past its steep asking price. If the increased render performance of this GPU could end up saving you an hour, two hours per week, for many that initial cost will pay for itself with increased productivity, especially if you need as much VRAM as you can get.
As with any launch, the primary details are in the GPU itself, and so the first half of this conclusion is the same for both of the AIB RTX 3090 graphics cards that we are reviewing today. If you want to know specifics of this particular card, skip down the page. Last week we saw the release of the RTX 3080. A card that combined next-gen performance with a remarkably attractive price point, and was one of the easiest products to recommend we've ever seen. 4K gaming for around the £700 mark might be expensive if you're just used to consoles, but if you're a diehard member of the "PC Gaming Master Race", then you know how much you had to spend to achieve the magical 4K60 mark. It's an absolute no brainer purchase. The RTX 3090 though, that comes with more asterisks and caveats than a Lance Armstrong win on the Tour de France. Make no mistake; the RTX 3090 is brutally fast. If performance is your thing, or performance without consideration of cost, or you want to flex on forums across the internet, then yeah, go for it. For everyone else, and that's most of us, there is a lot it does well, but it's a seriously niche product. We can go to Nvidia themselves for their key phraseology. With a tiny bit of paraphrasing, they say "The RTX 3090 is for 8K gaming, or heavy workload content creators. For 4K Gaming the RTX 3080 is, with current and immediate future titles, more than enough". If you want the best gaming experience, then as we saw last week, the clear choice is the RTX 3080. If you've been following the results today then clearly the RTX 3090 isn't enough of a leap forwards to justify being twice the price of the RTX 3080. It's often around 5% faster, sometimes 10%, sometimes not much faster at all. Turns out that Gears 5 in particular looked unhappy but it was an 'auto' setting on animation increasing its own settings so we will go back with it fixed to ultra and retest. The RTX 3090 is still though, whisper it, a bit of a comedown after the heights of our first Ampere experience. To justify the staggering cost of the RTX 3090 you need to fit into one of the following groups; Someone who games at 8K, either natively or via Nvidia's DSR technology. Someone who renders enormous amounts of 3D work. We're not just talking a 3D texture or model for a game; we're talking animated short films. Although even here the reality is that you need a professional solution far beyond the price or scope of the RTX 3090. Lastly, it would be best if you were someone who renders massive, RAW, 8K video footage regularly and has the memory and storage capacity to feed such a voracious data throughput. If you fall into one of those categories, then you'll already have the hardware necessary - 8K screen or 8K video camera - that the cost of the RTX 3090 is small potatoes. In which case you'll love the extra freedom and performance it can bring to your workload, smoothing out the waiting that is such a time-consuming element of the creative process. This logic holds true for both the Gigabyte and MSI cards we're looking at on launch.
There’s no doubt that the $1,500 GeForce RTX 3090 is indeed a “big ferocious GPU,” and the most powerful consumer graphics card ever created. The Nvidia Founders Edition delivers unprecedented performance for 4K gaming, frequently maxes out games at 1440p, and can even play at ludicrous 8K resolution in some games. It’s a beast for 3440x1440 ultrawide gaming too, as our separate ultrawide benchmarks piece shows. Support for HDMI 2.1 and AV1 decoding are delicious cherries on top. If you’re a pure gamer, though, you shouldn’t buy it, unless you’ve got deep pockets and want the best possible gaming performance, value be damned. The $700 GeForce RTX 3080 offers between 85 and 90 percent of the RTX 3090’s 4K gaming performance (depending on the game) for well under half the cost. It’s even closer at 1440p. If you’re only worried about raw gaming frame rates, the GeForce RTX 3080 is by far the better buy, because it also kicks all kinds of ass at 4K and high refresh rate 1440p and even offers the same HDMI 2.1 and AV1 decode support as its bigger brother. Nvidia likes to boast that the RTX 3090 is the first 8K gaming card, and while that’s true in some games, it falls far short of the 60 frames per second mark in many triple-A titles. Consider 8K gaming a nice occasional bonus more than a core feature. If you mix work and play, though, the GeForce RTX 3090 is a stunning value—especially if your workloads tap into CUDA. It’s significantly faster than the previous-gen RTX 2080 Ti, which fell within spitting distance of the RTX Titan, and offers the same 24GB VRAM capacity of that Titan. But it does so for $1,000 less than the RTX Titan’s cost. The GeForce RTX 3090 stomps all over most of our content creation benchmarks. Performance there is highly workload-dependent, of course, but we saw speed increases of anywhere from 30 to over 100 percent over the RTX 2080 Ti in several tasks, with many falling in the 50 to 80 percent range. That’s an uplift that will make your projects render tangibly faster—putting more money in your pocket. The lofty 24GB of GDDR6X memory makes the RTX 3090 a must-have in some scenarios where the 10GB to 12GB found in standard gaming cards flat-out can’t cut it, such as 8K media editing or AI training with large data sets. That alone will make it worth buying for some people, along with the NVLink connector that no other RTX 30-series GPU includes. If you don’t need those, the RTX 3080 comes close to the RTX 3090 in raw GPU power in many tests.
NVIDIA’s GeForce RTX 3090 is an interesting card for many reasons, and it’s harder to summarize than the RTX 3080 was, simply due to its top-end price and goals. The RTX 3080, priced at $699, was really easy to recommend to anyone wanting a new top-end gaming solution, because compared to the last-gen 2080S, 2080 Ti, or even TITAN RTX, the new card simply trounced them all. The GeForce RTX 3090, with its $1,499 price tag, caters to a different crowd. First, there are going to be those folks who simply want the best gaming or creator GPU possible, regardless of its premium price. We saw throughout our performance results that the RTX 3090 does manage to take a healthy lead in many cases, but the gains over RTX 3080 are not likely as pronounced as many were hoping. The biggest selling-point of the RTX 3090 is undoubtedly its massive frame buffer. For creators, having 24GB on tap likely means you will never run out during this generation, and if you manage to, we’re going to be mighty impressed. We do see more than 24GB being useful for deep-learning and AI research, but even there, it’s plenty for the vast majority of users. Interestingly, this GeForce is capable of taking advantage of NVLink, so those wanting to plug two of them into a machine could likewise combine their VRAM, activating a single 48GB frame buffer. Two of these cards would cost $500 more than the TITAN RTX, and obliterate it in rendering and deep-learning workloads (but of course draw a lot more power at the same time). For those wanting to push things even harder with single GPU, we suspect NVIDIA will likely release a new TITAN at some point with even more memory. Or, that’s at least our hope, because we don’t want to see the TITAN series just up and disappear. For gamers, a 24GB frame buffer can only be justified if you’re using top-end resolutions. Not even 4K is going to be problematic for most people with a 10GB frame buffer, but as we move up the scale, to 5K and 8K, that memory is going to become a lot more useful. By now, you likely know whether or not the monstrous GeForce RTX 3090 is for you. Fortunately, if it isn’t, the RTX 3080 hasn’t gone anywhere, and it still proves to be of great value (you know – if you can find it in stock) for its $699 price. NVIDIA also has a $499 RTX 3070 en route next month, so all told, the company is going to be taking good care of its enthusiast fans with this trio of GPUs. Saying that, we still look forward to the even lower-end parts, as those could ooze value even more than the bigger cards.
Still, the performance offered by the RTX 3090 is impressive; the Gaming X is 53% faster than RTX 2080 Ti, 81% faster than RTX 2080 Super. AMD's Radeon RX 5700 XT is less than half as fast, the performance uplift vs the 3090 is 227%! AMD Big Navi better be a success. With those performance numbers RTX 3090 is definitely suited for 4K resolution gaming. Many games will run over 90 FPS, at highest details, in 4K, nearly all over 60, only Control is slightly below that, but DLSS will easily boost FPS beyond that. With RTX 3090 NVIDIA is introducing "playable 8K", which rests on several pillars. In order to connect an 8K display you previously had to use multiple cables, now you can use just a single HDMI 2.1 cable. At higher resolution, the VRAM usage goes up, RTX 3090 has you covered, offering 24 GB of memory, which is more than twice that of the 10 GB RTX 3080. Last but not least, on the software side, they added the capability to capture 8K gameplay with Shadow Play. In order to improve framerates (remember, 8K processes 16x the pixels as Full HD), NVIDIA created DLSS 8K, which renders the game at 1440p native, and scales the output by x3, in each direction, using machine learning. All of these technologies are still in its infancy, game support is limited and displays are expensive, we'll look into this in more detail in the future. 24 GB VRAM is definitely future-proof, but I'm having doubts whether you really need that much memory. Sure, more is always better, but unless you are using professional applications, you'll have a hard time finding a noteworthy difference between performance with 10 GB vs 24 GB. Games won't be an issue, because you'll run out of shading power long before you run out of VRAM, just like with older cards today, which can't handle 4K, no matter how much VRAM they have. Next-gen consoles also don't have as much VRAM, so it's hard to image that you'll miss out on any meaningful gaming experience if you have less than 24 GB VRAM. NVIDIA demonstrated several use cases in their reviewer's guide: OctaneRender, DaVinci Resolve and Blender can certainly benefit from more memory, GPU compute applications, too, but these are very niche use cases. I'm not aware of any creators who were stuck and couldn't create, because they ran out of VRAM. On the other hand the RTX 3090 could definitely turn out to be a good alternative to Quadro, or Tesla, unless you need double-precision math (you don't). Pricing of the RTX 3090 is just way too high, and a tough pill to swallow. At a starting price of $1500, it is more than twice as expensive as the RTX 3080, but not nearly twice as fast. MSI asking another $100 on top for their fantastic Gaming X Trio cooler, plus the overclock out of the box doesn't seem that unreasonable to me. We're talking about 6.6% here. The 6% performance increase due to factory OC / higher power limit can almost justify that, with the better cooler it's almost a no-brainer. While an additional 14 GB of GDDR6X memory aren't free, the $1500 base price still doesn't feel right. On the other hand, the card is significantly better than RTX 2080 Ti in every regard, and that sold for well over $1000, too. NVIDIA emphasizes that RTX 3090 is a Titan replacement—Titan RTX launched at $2500, so $1500 must be a steal for the new 3090. Part of the disappointment about the price is that RTX 3080 is so impressive, at such disruptive pricing. If RTX 3080 was $1000, then $1500 wouldn't feel as crazy—I would say $1000 is a fair price for the RTX 3090. Either way, Turing showed us that people are willing to pay up to have the best, and I have no doubt that all RTX 3090 cards will sell out today, just like RTX 3080. Obviously the "Recommended" award in this context is not for the average gamer. Rather it means, if you have that much money to spend, and are looking for a RTX 3090, then you should consider this card.
Let's be clear: the GeForce RTX 3090 is now the fastest GPU around for gaming purposes. It's also mostly overkill for gaming purposes, and at more than twice the price of the RTX 3080, it's very much in the category of GPUs formerly occupied by the Titan brand. If you're the type of gamer who has to have the absolute best, and price isn't an object, this is the new 'best.' For the rest of us, the RTX 3090 might be drool-worthy, but it's arguably of more interest to content creators who can benefit from the added performance and memory. We didn't specifically test any workloads where a 10GB card simply failed, but it's possible to find them — not so much in games, but in professional apps. We also weren't able to test 8K (or simulated 8K) yet, though some early results show that it's definitely possible to get the 3080 into a state where performance plummets. If you want to play on an 8K TV, the 3090 with its 24GB VRAM will be a better experience than the 3080. How many people fall into that bracket of gamers? Not many, but then again, $300 more than the previous generation RTX 2080 Ti likely isn't going to dissuade those with deep pockets. Back to the content creation bit, while gaming performance at 4K ultra was typically 10-15% faster with the 3090 than the 3080, and up to 20% faster in a few cases, performance in several professional applications was consistently 20-30% faster — Blender, Octane, and Vray all fall into this group. Considering such applications usually fall into the category of "time is money," the RTX 3090 could very well pay for itself in short order compared to the 3080 for such use cases. And compared to an RTX 2080 Ti or Titan RTX? It's not even close. The RTX 3090 often delivered more than double the rendering performance of the previous generation in Blender, and 50-90% better performance in Octane and Vray. The bottom line is that the RTX 3090 is the new high-end gaming champion, delivering truly next-gen performance without a massive price increase. If you've been sitting on a GTX 1080 Ti or lower, waiting for a good time to upgrade, that time has arrived. The only remaining question is just how competitive AMD's RX 6000, aka Big Navi, will be. Even with 80 CUs, on paper, it looks like Nvidia's RTX 3090 may trump the top Navi 2x cards, thanks to GDDR6X and the doubling down on FP32 capability. AMD might offer 16GB of memory, but it's going to be paired with a 256-bit bus and clocked quite a bit lower than 19 Gbps, which may limit performance.
2020.09.24 13:25 2112traderInvesting News Morning Roundup – September 24, 2020
Investing News Morning Roundup – September 24, 2020 There is a clear risk-off feel to the market as investors see the likelihood of any additional stimulus measures fading. Rising virus cases are adding to the Justice Department presents plan to pull back tech companies’ liability protections The Justice Department has submitted its take on pulling back longtime legal protections for internet companies, moving forward on a plan outlines this summer. The change would make tech companies more responsible for the content that appears on its sites. Such a change would force tech players like Facebook (FB), Twitter (TWTR) and Google (GOOGL) to police what is on their sites more diligently. Any proposal is not likely to move forward this year, but with both sides of the aisle open to a revision to this legal protection, it is likely to see action in the next legislative session. ByteDance applies for export license to finalize TikTok deal ByteDance (BDNCE) has applied for an export license from Chinese regulators to allow it to complete its proposed deal for TikTok’s US assets with Oracle (ORCL) and Walmart (WMT). The application was submitted to the Beijing municipal bureau of commerce, ByteDance said in a statement in Chinese on Thursday. The company said it was waiting for a decision. This past weekend, Oracle said it would take a 12.5% stake in a new U.S.-based company called TikTok Global and be the cloud provider, handling American user data. Walmart would take a 7.5% stake. ByteDance also is requesting an injunction against the Commerce Department to nullify the ban on downloading TikTok. Disney again delaying several big movie releases amid weak theatrical market Disney (DIS) has again announced delays for the release of some of its upcoming big movies. “Black Widow”, the next Marvel movie to be released, will now be delayed until May 2021, already having been delayed once until November. Disney will delay 10 films in total, including Steven Spielberg’s remake of “West Side Story”. Disney is seeing anemic activity in US movie theaters, with moviegoers reluctant to return to theaters en masse. The rest of the world has seen more return to the theaters. Disney watched Warner Bros. (T) release of its blockbuster “Tenet” flounder, earning only $36 million in US ticket sales, and decided to delay its releases. Warner Bros. itself has delayed “Wonder Woman 1984” after the “Tenet” debacle. Potential partners have been reluctant to move forward with Nikola Nikola (NKLA) was in talks with several energy firms about building hydrogen refueling stations to support its planned truck to be run on a fuel cell. The talks, with players including BP Plc (BP), have been put on hold after the SEC and Department of Justice decided to investigate the company. The investigation comes after short-seller Hindenburg Research issued a report calling the company’s claims a scam, calling Nikola an “intricate fraud”. Nikola executives felt they were making progress toward reaching an agreement with at least one major energy company when short seller Hindenburg Research released a critical report, which cast doubt on the company and its statements about the readiness of its technology, according to WSJ. Nikola’s CEO and founder Trevor Milton resigned after the investigations were announced.
2020.09.24 08:43 AnecdotalSoupAnecdotes from the AFO (Ramon and Benjamin). I may have the translations of some phrases wrong. Source: "The Extradited: Benjamin Arellano Felix" written by Juan Carlos Reyna.
Emilio Valdez Mainero met Ramón Arellano at a posada before Christmas 1986 in the Lomas de Aguacaliente neighborhood. Fausto Soto Miller presented the interiors of a Cougar parked in double file, where they pulled to inhale white powder without Lina Literas, the first's girlfriend, knowing. In the passenger seat was Kitty Páez, whom Valdez Mainero had already met at a roast beef from Mexico Institute graduates in Chapultepec. The Mon wore a printed silk shirt and a mink coat, under which he wore a Guadalupano gold medallion; As he got out of the car to return to the party, he showed off some white denim shorts and tennis shoes. Valdez Mainero, who was the son of an austere colonel who had served on the Presidential General Staff, found the outfit ridiculous; However, something in him dazzled him: his insolence was covered by the fear he inspired in the rest of the guests. Soto Miller had warned him that he was crossing the mota to the other side and that his brother was running an organization of gangsters from Culiacán; He didn't say: “The bato is chill”, but he did say: “The bato always invites a few shots of champagne”. The Mon's brother, whom Soto Miller was allowed to refer to only as the Lord, directed the movement to the United States of shipments of up to 20 tons of marijuana a day. After the December anniversary, the heir to the presidential bodyguard began to entertain himself with his clique and, after a dizzying streak of revelry, he decided to work for the Mon. This is how he learned that his brother Benjamín Arellano Félix also crossed cocaine and distributed it in the corridor between San Diego and Los Angeles. The alkaloid was provided by Ismael Zambada García, who flew it from Colombia to the Pacific coast with the help of Amado Carrillo Fuentes, a heavy trafficker who operated alongside Rafael Aguilar Guajardo, leader of the Juárez Cartel. On May 6, 1987, Ángel Gutiérrez was arrested along with the migration inspector José Barrón and Óscar Páez, Kitty's brother. Gutiérrez had seven days of having returned from Nimes, France, to California, where Julio César Chávez had defended his championship against the Brazilian Francisco Tomás Da Cruz. The DEA identified him as the operator of Javier Caro Payán, Manuel Aguirre Galindo, Jesús Labra Avilés and Benjamín Arellano Félix, who made up the council of leaders of the Tijuana Cartel. While the first three supplied marijuana to the organization, the fourth provided the transportation routes to California. On June 7, undercover federal agents arrested the first of those leaders in Montreal; Police accused Caro Payán of bringing 100 tons of Mexican marijuana into Canada. The San Diego prosecutor's office requested his extradition on September 4, accusing him of handing over $ 650,000 to Barrón for allowing the passage of 13 loaded trucks. Óscar Páez, on the other hand, was sentenced to two years in prison at the Federal Correctional Facility in Phoenix; There he met David Barrón Corona, who had no relationship with the customs inspector, but who recommended his brother to join the cartel's army as soon as he was released. The same day his brother was arrested, Kitty left his San Diego apartment and moved to the Mon house in El Paraíso, a subdivision where the offices of the weekly Zeta were also located. On June 30 of that year, businessman Jorge Hank Rhon and directors of radio station 91X organized a music festival at the Caliente Racetrack. The Mex-Fest, according to the Los Angeles Times review, brought together 30,000 music lovers from both sides of the border. The concert was headlined by Oingo Boingo, The Bangles and Chris Issak, whom the Mon began to listen to on the recommendation of Soto Miller and whose songs he hummed alone while driving his Porsche Carrera of the year. On the day of the concert Valdez Mainero organized a party on the roof of his house, which was right in front of the stage, across the street from the racecourse. Despite the fact that it was Tuesday and the festival had ended before midnight, the makeshift terrace was packed with wealthy drug addicts living in Lomas de Aguacaliente and Chapultepec. The birote was interrupted at two in the morning by a patrol that came to answer the complaints of the neighbors. Evangelina Casillas Higuera, who was Mon's sentimental partner, heard Valdez Mainero say that people had to withdraw: "There is going to be a big problem with Ramón." She heard shots, ran to the exit and as she was outside she heard that her boyfriend had killed one of the policemen; he went on a raite with Lina Literas and did not see Mon until the next day, when he visited her smiling and hearty. Evangelina asked him about what had happened the night before; and he said: "Nothing, that some guests had gotten angry because the agents covered the concert and it was not possible to see". In her statement to the Southern District Court of California on May 27, 2003, she assured that until then she began to suspect that her boyfriend was engaged in illegal business. On August 17, a month and a half after the Mex-Fest, Kitty Páez sponsored Ramón's fake wedding with Evangelina. El Mon had bought a fictitious marriage license from a judge at the town hall so that his girlfriend, who was 17 at the time, could leave the Instituto México (her high school), leave her parents' house (which was in Las Palmas, the same division of the school) and move to his in El Paraíso. Evangelina thought her in-laws were from Guadalajara, where she had made a fortune in the construction industry. The following year Kitty Páez Martínez proposed to the Mon that he sponsor her wedding with Angélica Bustamante González, granddaughter of Alfonso Bustamante Labastida, owner of the Torres de Aguacaliente, and niece of Carlos Bustamante Anchondo, who would become mayor of Tijuana for the PRI in 2010. The in-laws found it suspicious that Kitty, who did not come from a wealthy family, owned a liquor store in Rosarito at 22 years old. However, they consented to the wedding (which was real) in March 1988. According to the chronicle of Anne Marie O'Connor published on July 28, 2002 in the Los Angeles Times, they got the also PRI member Federico Valdés to officiate it, municipal president at the time. At four and a half months Angélica gave birth to a pair of twins. At the end of the summer, when Kitty was giving birth to their children, Mon and Evangelina went out to party with Valdez Mainero and his girlfriend Lina. They drank at Tillys, a bar on the second floor at the corner of Avenida Revolución and Calle Quinta. On the way out, a policeman stopped the Mon to ask him to please empty the contents of his beer bottle into a plastic cup. "You are not going to tell me where I am going to drink," he replied. The policeman offered him the plastic cup and Valdez Mainero, in anticipation of the inevitable, pulled the women toward the car and said: "Let's go." Evangelina heard a detonation that made her turn towards where the policeman was bleeding, covering the wound in his stomach, lying on the floor in the middle of the fleeing crowd. She saw her husband crawl and get on the motorcycle of the escort who always looked after him from afar. Valdez Mainero took his home. The Mon slept that day at the home of Min. Evangelina could not sleep and shortly before dawn she wondered if she should fear her husband. Months later, Evangelina asked the Mon to speak; This led her to an area in the Chapultepec neighborhood that was not yet urbanized, from where she could see the entire city. Minutes after arriving a patrol came to inspect them; The Mon rolled down the window and shouted: "Eleven eleven", then a police officer approached, answered: "Ten four" and left. The woman asked him what that had meant. The Mon replied that "eleven eleven" was a key to tell the police that he was "from the same team" and, therefore, everything was fine. Evangelina, who had summoned the Mon to question him about what happened at the Tillys and even at Valdez Mainero's house a year earlier, had no need to ask. The Mon revealed to him that his father crossed over to the United States a lot in the early 1970s, where he bought expensive liquors to sell to drug traffickers in Culiacán. That was how his brother Min had made friends with people like Rafael Caro and Amado Carrillo, but also with many policemen who now worked in Tijuana. The Min transported 10 tons of cocaine per month for the Mayo Zambada from spring 1987 to summer 1988. He received the shipments from Mazatlán at an airstrip in San Felipe and crossed them into the United States in tanks that had previously been filled with propane. The alkaloid had been wrapped in the Colombian jungle with black rubber, like that of the inner tubes of bicycles; Upon arrival in Los Angeles, however, it was vacuum packed and in carbon paper. Arellano Félix's work was painstaking and meticulous. At that time, Mayo paid him $ 1,200 for each kilogram exported and proposed that he not only transport, but also associate with him in the importation and distribution of cocaine in the United States. He asked him to be the best man at the wedding of his daughter María Teresa Zambada Niebla and two years later to baptize his son Serafín Zambada Ortiz. Ismael Higuera Guerrero, alias El Mayel, who had worked with the Fifth Month and was responsible for the daily operation of the cartel, received the merchandise in clandestine ports throughout the peninsula; Higuera Guerrero, also directed the transit of fishing vessels loaded with cocaine that left Colombia and landed in Ensenada. His brother Gilberto Higuera Guerrero, alias El Gilillo, was in charge of unloading the planes landed on clandestine runways in San Felipe and Valle de Guadalupe, after supervising the transfer of cargo along the Mexicali route. Efraín Pérez Pasuengo and Jorge Aureliano Félix, a former agent of the Judicial Police, supervised the daily operations in the Tijuana plaza. On Sunday, January 1, 1989, the Min celebrated his two-time friend's 41st birthday at the renowned Club Britania in Tijuana. They were accompanied by Ramón, who was then 24 years old and six years old from working in his brother's business. The celebration was attended by drug traffickers from the rest of the squares and escorted by judges who worked in the administration of Xicoténcatl Leyva Mortera, governor who would be removed from office four days later. Armando López Esparza, alias El Rayo, appeared at the party on behalf of Chapo Guzmán, leader of the Sinaloa Cartel. The first had grown up with the second in the Badiraguato mountains and knew the brothers from when they lived in Culiacán. He used to run into them at Los Rebeldes, the jukebox scrap shop in the Guadalupe neighborhood. El Rayo arrived at the christening drunk and accompanied by a woman. The policemen denied him entry, claiming that he had no invitation. The insults of Chapo's friend caused an uproar among the agents. Then the Mon went out to the parking lot, identified the Lightning, and heard him yelling. He walked over, drew his pistol, and shot his head off. Although there was no need, he shot her four times again as soon as she hit the ground, splattering blood on the companion's cleavage. Ramón, who was 1.88 meters tall and weighed 100 kilos, threw the body on his back and carried it to the pan of his picop. Then he threw it at the beginning of the road to Rosarito and returned to the party to convince his brother of the need to avoid revenge. Florentino, Rayo's brother, and the rest of the family had to be killed. El Mayo thought it was fine. On January 1, 1989, Valdez Mainero went to the party that the Lord had organized for Mayo at the Britania Club, above Lomas de Aguacaliente. As he ate, he saw that the Mon got up from the table pissed off and walked towards the parking lot of the room. He was going slowly, but with a hardened jaw. Seeing his employer this excited, Valdez Mainero felt a shameful mixture of empowerment and humiliation: he had sold himself to a narcissist with bizarre tastes who exploded with a kind of lust, the same with which he wasted on motorcycles, clothes and women to his friends. (The price he had to pay was absolute submission.) He silenced the thought by downing his beer in one gulp and followed. Before reaching the door he heard a shot and felt a rush of adrenaline explode in his face. He unsheathed his 9mm Beretta and ran: on the way out he saw a bloody Texan on the floor and next to her boss shooting a man one, two, four times between the legs. Fifteen years later, when he entered the WITSEC program, Valdez Mainero declared that the Mon swore that Rayo López had kidnapped one of his sisters while he was living in Guadalajara. The Min denied this version. Páez Martínez was not accompanied by his wife at the May party at Club Britania; He also did not see when the Mon shot Rayo in the parking lot, but he did help him plan the death of Florentino López Esparza on February 15, 1989, when Rayo's brother was escorted by municipal authorities before he was admitted to the Culiacán prison. This is how the Kitty followed the roll to the Mon, whom he made compadre despite the fact that he had killed the Nelo and chased Sandra, whom he revered for having taken him off the street and put him in the business. Páez Martínez felt fear and revulsion at the most violent of the Arellano Félix. He believed that he could take him on his own until the summer of 1989 he ordered him to kill the agent of the Public Ministry Miguel Ángel Rodríguez Moreno; Kitty was very fond of the Public Ministry agent, but if he did not break him, the Mon would take revenge against him. "Ramón doesn't give a shit that we're compadres," he told himself in a sudden outburst of obviousness. In November 1989 Evangelina gave birth in the United States. The Mon did not appear at the delivery of his daughter, nor did he limit his campaign of executions. Some of the executions were not authorized by the Min or by his brother Eduardo, who had just arrived from Guadalajara to join the company. Güalín, which is what his brothers called him (Doctor is what the subordinates should call him), was something like the producer of the Tijuana film: he got the properties that would be used as safe houses or warehouses, he negotiated the acquisition of police uniforms , acquired weapons and automobiles for the company. The Doctor also participated in giving the green light to the enemies, which is what they called the permission to kill the rivals of the cartel. Most of the communication between the brothers, at the behest of the Doctor, was exclusively through radio frequency; he assigned himself the code 13 and when he communicated with the Min he announced: "Code thirteen to seventy-seven", with the Mon he said: "Code thirteen to ninety-nine." Gerardo Juárez Biberos, his bodyguard from 1989 to 1997, told the WITSEC program that the Doctor was nervous and apprehensive: "He made this strange noise with his mouth," he said. Every time he failed an execution he coughed and cleared his throat, mortified as if his air were being cut off. When I commented on this statement, the Min was upset and assured that Eduardo had proven to be together with Ramón the bravest of all the members of the company, including his brothers. After being apprehended defending himself with bullets on October 26, 2008 in a house in Chapultepec and being extradited on September 1, 2012, Güalín, as his brothers nicknamed him, was the only member of the cartel who did not testify. against him or anyone. Evangelina Casillas Higuera did testify on May 27, 2003 against the Minister. In her statement to the Southern District Court of California, she identified her brother-in-law's partners: Chuy Labra, Mayo Zambada, Mayel Higuera and Caballo Aguirre, as well as Amado Carrillo Fuentes and Rafael Aguilar Guajardo. She claimed to know her mother, Alicia, whom she nicknamed Mama Licha, including the siblings who were not involved in the business. Luis Fernando, son of Norma Isabel Arellano Félix, said that she had been involved in the company of her uncles since she was a teenager. Evangelina stated that when Mayo worked with Min, Ramón traveled to Mexicali at the request of his brother. Evangelina was about to give birth, but she accompanied him. The Mon spent the night at a ranch owned by the Mayo and the next day he picked up his wife at the Hotel Lucerna. He did not get out of the car, his clothes were dirty, torn and smelled a lot of sweat. The Mon started the car and told him that as soon as his daughter was born, they would have to move to Guadalajara. In her statement, Evangelina reported that in early 1990, a week after moving in with the newborn, Victoria Barrionuevo visited her. The wife of her brother-in-law Pancho was very angry because she had discovered that her husband was unfaithful to her with Rocío Lizárraga Lizárraga, a puberty of 17 who on February 2 of that year would become Queen of the Mazatlan Carnival. Pancho, who had already entered forty, had withdrawn all financial support to force her to divorce. Victoria was pissed off: he had helped her get off the ground in the drug trade in the late 1970s and that was how Pancho thanked her. Evangelina testified that Victoria ranted about how involved the Min and the Mon were in drug trafficking. He also revealed that the López Esparza brothers were his enemies because Rayo, who was a protégé of Chapo Guzmán, had kidnapped one of his sisters in 1980. The López Esparzas' father ordered the woman's release the following week because he did not he wanted trouble with the Arrellano Félix. However, that did not prevent the Mon from taking revenge nine years later and, consequently, El Chapo had a pretext to fight the place against the Min. On the morning of February 26, 1990, Benjamín Arellano Félix and Ismael Zambada García were machine-gunned by a commando who was traveling in two Suburban Federal Police. The Min had proposed to meet at the Lavamática Campestre in the Rio Zone, where the Mayo arrived with two bodyguards who occupied the back seats of the armored Grand Marquis that the friend, partner and host, was driving alone. Why should he carry a driver if he was so good at driving? The Min left the car running, as he always did when he met to discuss business. He saw the vans slow down in the middle of the street and his crewmen get off quickly, pointing semi-automatic rifles at them at half a meter. He pulled the Mayo by the head, yelled at him: "Get down, buddy," and watched as a burst of shots smashed through the bulletproof glass. The guards tried to go out to repel the shooting, but the Min locked the door lock, accelerated in first gear and as he could, he crossed both Suburbans. He maneuvered toward the Fast Track, where they were still followed; he felt the cart buckle as if it were floating on a rough tide, but he stepped on the Marquis, righted it, and managed to lose them in the November 20 neighborhood. There he took the first street to his right, went into a passage and cornered what was left of the boat; the defense was broken and the tires, despite the foam that protected them, were smashed. The four of them came down fast, then jumped a fence; one of the gunmen took Zambada away, the other accompanied the Min to arrest a motorist who heard him in shock: "Take us to the boulevard." The four met an hour later in the house that the compadre, despite being in Sinaloa, had in the Hipódromo neighborhood. The Min ordered his boys to be brought in and they pulled them all to Playas, where Commander Fulvio Jiménez Turegano lived. Other vans began to follow them as they approached the home, but no one wanted to start another wax bullet. The commander received them with a broken face and took them into the room. The Min told him: "If you want to kill us, we are here so it doesn't get complicated for you." The policeman dropped onto the couch: "I didn't do it, it must have been a mistake." Then there was an uneasy silence. And then he asked for their forgiveness. The Min, then, said goodbye not without first reminding him to be attentive "because here there was only a boss. And, if he didn't understand, he was going to be fucked and the rest of the federals attached to Tijuana. Three days later, Jiménez Turegano called Benjamín Arellano Félix by cell phone. He offered him a rapprochement with the heads of the other five companies that controlled drug trafficking in Mexico. El Min moved up to two tons of cocaine a day and, together with Labra Avilés and Aguirre Galindo, had managed to weave a network to operate in complicity with officials and politicians on both sides of the border. Surely someone wanted to take over his route. After the shooting in front of Lavamática Campestre, Arellano Félix spoke by phone with Rafael Aguilar Guajardo, former regional commander of the DFS and now head of the company that operated in Juárez. At first, his counterpart assured him that neither he nor the rest were aware that El Chapo had ordered the attack. None of the leaders wanted to put a finger on him and the Min felt that they were covering up the Sinaloan capo. He remembered the meetings in the lavish bungalows of Acapulco or in the opulent restaurants of Mexico City, where he had been invited and in which he heard the advice of the friendship of this or that to be able to kill him even after learning to work his place. Very soon he gave up seeing them in a group; He looked at them separately, inside his armored Marquis and only when necessary. Because he was also moving cocaine for his interlocutor, he hinted to Aguilar Guajardo that it would be convenient for him to take care of himself, "or do you think they won't look for you after me?" For now Arellano Félix would take revenge against Guzmán Loera, "your compadre, just because he seems to be the least attentive." The next day Aguilar Guajardo called him on the phone to let him know that El Chapo had confessed that yes, that he was the one who had ordered the accounts to be settled. "Sure he got mad because I said he was the least attentive," thought the Min, and then he laughed self-absorbed. From 1989 to 1992 the Min consolidated control of all transfer routes to California and Arizona. To get the business off the ground even more, he paid a payroll made up of officials from both sides of the border: attorneys and deputy attorneys, federal commanders and state group leaders, members of the Mexican military, and US customs inspectors. Arellano Félix believed that the bites brought order to the plaza, while also offering government officials an opportunity to "truly win". If they committed themselves to facilitating, protecting and promoting the operations of the company, they would earn a remuneration complementary to their salaries more than profitable. Prosecutors, agents, police officers, and soldiers obeyed the Lord's orders: they watched the arrival of shipments of cocaine and marijuana in the Mexicali desert, in the Guadalupe Valley, and on the San Felipe beach. They escorted Gilillo Higuera not once, but every time so that he could take the shipments in peace to the warehouses that the Doctor had acquired in Mexicali. Every year and a half, when there was a change of directors in the PGR, the Min was introduced to the incoming commander by the outgoing one. The Min gave him $ 500,000 as a welcome gift. The gift was repeated every month, as were deliveries of $ 250,000 to the squad leaders and the director of the Judicial Police. Division directors received regular payments of $ 200,000 every eight weeks. This was the case of Enrique Harari Garduño, former director of the Federal Preventive Police, who was arrested on August 17, 2000. The official would die for unknown reasons four years later, three months after being released from Cefereso. The delegates and sub-delegates of the PGR were the only ones who did not receive a monthly fee, but one-time payments of up to one million dollars. This was the case with Guillermo Robles Liceaga, who was shot on May 1, 2002 while driving through the Interior Circuit in Mexico City; He was ambushed by two Jettas and a motorcycle on his way to the Ministry of Public Security, where he served as director of Mixed Operations. The Min established a similar relationship with high-ranking members of the military, who were paid $ 250,000 a month. Declarations of other witnesses indicate that this is the case of General Alfredo Navarro Lara, who was imprisoned on March 17, 1997, accused of wanting to bribe General José Luis Chávez, then in charge of the PGR, with a million dollars. According to Páez Martínez, Arellano Félix maintained this bribery model throughout the 1990s. Kitty was busy with Chuy Labra to negotiate with government officials; Mayel Higuera, who was the strategist and coordinator of the transfer operations, connected the Ministry with police and advanced military. El Mayel ended up winning the place that Javier Caro had before his arrest and continued as operative chief until May 3, 2000: at dawn that day he would be arrested "fortuitously" by the army, according to the note published by El Universal. He was drunk and shot a Goat Horn into the air in a house behind the Autonomous University of Baja California, in Ensenada. The Min's word was the last as to who could or could not cross non-company shipments. The cartel had control of the routes and without the approval of the Lord, the disrespectful risked being assassinated by the narcojuniors. Arellano Félix received a request from Emilio Valdez Mainero in early 1992: Miguel Ángel Bazán Padilla wanted to cross remittances of mota through Tijuana. José Albino Bazán Padilla's brother, captured on April 4, 1985 in Costa Rica along with Rafael Caro Quintero, had bought a ranch in the Eastern Zone to store the merchandise. After dictating the charge for the floor fee, the Min told him: "Go and let him know that he has the approval." When Valdez Mainero arrived at the farm, he noticed that they were unloading about 500 kilos of coca. The narcojunior experienced a heat in his forehead and his pulse quickened; He saw Ramón maddened in his head, pointing his gun with its golden handles. He asked to speak to the boss, who received him in a makeshift hut at the back of the property: "The product is from Amado Carrillo," Bazán Padilla snapped without greeting him. I think that with his permission is enough, right? " Three days later the Mon passed by him to his house next to the Hipódromo taqueria. She led him to a corner in the La Mesa neighborhood, where a black Grand Marquis picked them up. Already climbed, he noticed that the Min was driving, Ismael Zambada was the co-pilot and in the back seat was a bearded man who he did not recognize. They saw him without greeting him. El Mayo played a recording on the boat's cassette player: Bazán Padilla asked Chapo Guzmán for permission to eliminate the narcojuniors Emilio and Gabriel Valdez Mainero. Then the Mayo put on another recording: Emilio urged Bazán Padilla to desist from moving coca without permission. The Min watched him silently for 30 to 40 seconds. "The only reason these gentlemen have not killed you - (he warned, pointing to the rest) - is the second recording you just heard." El Mayo then intervened: "Whose product is it?" Valdez Mainero stumbled that of Amado Carrillo Fuentes. Suddenly the man in the back seat of the Marquis leaned over and articulated slowly, looking into his eyes: "I am Amado Carrillo Fuentes." Before asking him to get off the Marquis, Zambada informed the narcojunior that he had permission to kill Bazán Padilla. The Mon promised in front of the chiefs that he would help him. Six days later, a hooded commando, disguised in military uniforms and distributed in three vans, picked up Valdez Mainero. All three were equipped to store Goat Horns and grenades in their rear boxes, in addition to the passengers. The narcojunior recognized the Mon by his high-pitched voice; He did not know who was in the group for the ski masks, with the exception of his childhood friends the brothers Alfredo and Alejandro Hodoyán Palacios; plus Fabián Martínez, another young man from the Mexico Institute who was nicknamed Jaws. They went to a warehouse in La Libertad, where they saw Bazán Padilla and his gunmen get into two pickup trucks. The commando stopped them a block and a half from the warehouse: they pointed their guns at the gunmen forcing them to fall to the ground and yelled at Bazán Padilla to come down slowly because the Commander wanted to talk to him. They put him in the van that the Mon manned with Valdez Mainero. They started off, but the Hodoyán and El Tiburon kept pointing their guns at the gunmen on the ground. The next morning, while drinking orange juice at the Chapultepec house, the Min read in the newspaper that Bazán Padilla, a member of the Sinaloa Cartel, had been found dead along with a dozen gunmen: federal agents had seized three tons of cocaine and one of marijuana. The Min put down the newspaper without finishing reading the note and got on the treadmill. An hour and a half later, he was seen with Mayo and Amado Carrillo in another armored Gran Marquis, but this time blue. Valdez Mainero arrived at the meeting without the Mon and got on the car waving everyone's hands. He informed them that he had recovered two tons of marijuana from the dead man's ranch. The Min told him: "Keep them, sell them and keep them as a reward." On November 7, 1992, a day before he turned 40, Benjamín Arellano Félix traveled to Puerto Vallarta to take a vacation while the business was cooling (Fulvio Jiménez Turegano had seized four shipments). El Min landed in a private jet and his brothers Pancho, Mon and Javier arrived separately: one from Mazatlán, the others from Tijuana. All were distributed in three complexes around Playa Las Glorias. El Gualín waited for everyone to arrive to fly with his guards from Mexicali. Fifty of the Min's boys arrived between the 5th and 6th of that month, including Mayel and his brother Gilillo. The Kitty waited to travel with the Doctor. Valdez Mainero had not been invited. The following day, the Min received his second wife Ruth Serrano Corona and their two minor children, who had flown on a plane belonging to their compadre, at the Las Palmas Hotel. Despite the fact that they had prepaid the rooms, the Min told his family that they would not be staying at the hotel; He moved them to a huge bungalow with its own private pier and beach not far from there, where he spent the afternoon with his children collecting shells in the sand.
2020.09.24 08:42 Muatra806How to tell if you're a redditor.
I originally wrote this on an old account of mine. The average redditor:
17 to 25 years of age.
usually white. Occasionally asian.
family middle class.
either unemployed or working part time
despises religion and will attempt to start a theological debate whenever the bible is mentioned. Has no actual knowledge of theology beyond Richard Dawkins YouTube videos.
addicted to video games and the internet
addicted to porn and is sex obsessed. Every thread is about sex. Loves TIFU stories written by "women" involving sex antics.
loves askreddit threads where women all pretend they "actually prefer chubby, short guys :3"
listens to podcasts.
has loads of fun facts. Very little in depth knowledge on anything.
claims to be a feminist but actually views women as mysterious, sexual objects.
is opposed to every single traditional belief or view. Thinks they're smarter than everyone because of this. Fails to see the wisdom in many traditional ideas.
likes star wars. Lord of the rings. Marvel movies.
loves Nintendo switch
starts sentences with "eh," or "ummm" or "I mean,.."
calls dogs "puppers" "doggos" or "chonkers"
is mentally weak. Whatever the opposite of a stoic is - that's them.
has had depression or anxiety before.
claims to love science however possesses no scientific knowledge beyond what the average 14 year old student learns in school.
claims to love psychology and philosophy however possesses no understanding beyond a 15 minute beginner video on YouTube.
claims to love reading. Hasn't read a full book in a long time due to internet addiction.
instant ramen is a dietary staple.
never gets up early. Goes to bed late and sleeps in.
has zero trade skills or mechanical aptitude. Would struggle to conduct an oil and filter change on a car.
either overweight or underweight.
thinks they're healthy. Almost never gets any exercise. Will still chip in and offer authoritative opinions on diet and fitness.
leans left politically. When they get excited they go full communist.
believes you cant be racist towards white people
believes ACAB and the wants police to be defunded - despite the fact this would make poor black communities even worse off.
thinks they're intelligent but their poor academic results are just because they "didn't try". Fails to understand work ethic, perserverance and trying is 95% of success.
thinks being promiscuous is totally fine and empowering, however they themselves struggle to find a single romantic partner.
gets enraged over social issues but has never personally volunteered or donated their labomoney towards a fundraiser or a cause.
never does anything to put themselves outside of their comfort zone.
celebrity obsessed. Worships cool celebrities with good public image. Despises and attempts to cancel "bad" celebrities.
despite claiming to be reasoned and evidence based - will gossip and rumour about people and celebrities.
gets enraged over 15 second videos of altercations with no context and wants to cancel and destroy the life of the "bad person" in the altercation. Especially if they are a white woman and the guy filming is black.
thinks capitalism is bad. Is a rabid consumer of tech and pop culture.
collects funko pop.
hates their own country because of exploitative foreign policy. Wears and uses sweat shop items religiously.
has opinions on absolutely everything. Whenever they speak about something you happen to know a lot about you realise they are unbelievably ignorant.
thinks they hate Western culture. Would last approximately 6 hours outside of western culture.
pretends to be gravely concerned about climate change. Does literally nothing to combat it.
dislikes the rich. believes rich people owe money to society.
very nonconfrontational in real life
supports BLM and will go along with anything that makes them look woke. Doesn't know many black people. If ever amongst a black area with black people they would feel insecure and anxious. Especially if spoken to.
If someone calls them a butt boy or a dickhead when they are acting like a shitcunt they say "ad hominem! Logical fallacy! Your argument is invalid!"
2020.09.24 05:21 SnowWarrenSaw Digimon Last Evolution Kizuna Yesterday
The movie has appeared in theaters here in Australia so I was lucky enough to see it yesterday and have a few thoughts. I should point out that I haven't seen the Tri movies despite them sitting on my shelf due to the controversy surrounding them, but I was told they weren't necessary to understand this movie. Story - Enjoyed Gennai's brief cameo, but I feel like he could've contributed more to the plot, particularly since the antagonist is another DigiDestined so logically he might have had valuable information about her, but sadly, it wasn't to be. Aren't Gennai and his colleagues the ones who send out the digivices? They must have known about her. He also couldn't have clarified what happens to the partners after the bond is lost. He just says they "disappear", but obviously the movie implies they survive in some form. I wondered if that just means they return to the Digital World, but I wish they'd stated exactly what happens. Digimon who die in the real world end up as disembodied ghosts, is that it? - Also, what did Menoa do to lose her digimon, Morphomon, at fourteen? We're told battling speeds up the separation, but nothing we're shown indicates the two of them did any battling. For that matter, how did Sora lose Biomon faster than Tai and Matt lost Agumon and Gabumon if she's abstained from the battles? Is the time limit different for each Digidestined or is it that Sora grew up quicker and lost Biomon faster as a result? If that's the case then why hasn't Joe lost Gomamon yet? >! - Sora really got the shaft in this movie. To not only reduce her down to a cameo, but have her lose Biomon OFFSCREEN didn't show much respect to the character. The other kids didn't fare much better and while they are at least a part of the climax, their digimon are quickly sidelined in favor of Gabumon and Agumon. If you liked their mega forms and hoped to see them in Kizuna, you're out of luck. The epilogue also chooses to focus solely on Matt and Tai. Don't get me wrong, I like Matt and Tai, but this is supposedly the finale to this whole story. All these characters to say goodbye to and they're mostly turned into damsels to be saved. The season 2 kids got more screen time than half the originals. I really think all the kids should have been about to lose their digimon and the movie should have been ALL of them reuniting for one final adventure. !< - They point out the kids are minor celebrities, but I wish a little more could've been done with it. - Both this movie and the reboot continue the trend of seemingly unlocking the new evolutions by not giving up and just fighting harder. I miss the days when evolutions were locked behind special conditions like a crest or needing to discover a new side of themselves. When Gennai asked Tai if he had anymore hidden potential at the beginning, I thought that was going to be how the new evolutions would be unlocked. That maybe they would lose their digimon and unlock that potential in their grief, bringing them back for one last fight. How are these odds any worse than the fight against Diaboromon? A bit more context would have done wonders. - I didn't hate the season 2 finale as much as others and prefer it to the kids saying goodbye to their Digimon forever as I find a world where humans and Digimon coexist more interesting instead of a forced return to the status quo. I'm grateful that they did hint towards the finale in a few small ways and leave the door open to it still happening in the form of Tai's thesis. Translation - "Digital Gate"? Are we not calling them "Digiports" anymore or is this something different? - The two times his name is mentioned, Tai refers to Gennai as "Master Gennai". I get that they had mouth flaps to spare from the honorific as I'm guessing they called him "Gennai-sama" in the Japanese version, but they never called him that during the show so they could have changed it to something like "Gennai, it's you!" or "Gennai, you're here!" - Ex-Veemon accidentally calls out his Japanese attack "X-Laser" instead of his English one, "V-Laser". - It's a little frustrating as Jeff Nimbly, who returned to write the script for Kizuna, was so heavily involved with the first two seasons and Digimon as a whole, so if anyone knows what these things were meant to be called, it was him. - When Parrotmon appears, Agumon says, "Polly want a cracker?", which was cute. I realise that line is a cliche so it might be by accident, but I like to think of it as a reference to the first Digimon movie where Tai says it. - There's barely any subtitles in the film as 90% of the onscreen text is already in English. Yolei gets an email from Menoa that's completely in English, but calls her by her Japanese name, Miyako. Later Izzy gets an email that clearly says from "Kari Kamiya". Has anyone who's seen the subtitled version confirm whether this is the case there? Could Toei have sent a different version with all the text translated? But then, Tai's thesis at the end is still in Japanese so I don't know what to think. - In the climax, where I presume the Japanese version had the characters state the movie's title, "Last Evolution", the dub goes for "Final Digivolution" and I'm left wondering: why wasn't that the English title? Voice Work - Nicolas Roye as Matt? He's fine. Didn't blow my mind nor disappoint me. That might be the problem, Nicolas's Matt was inoffensively bland. I'm glad they replaced Vic, but Michael Reisz will always be Matt to me. - Didn't expect to miss Brian Donovan's Davis as much as I did. Davis gets a large chunk of the season 2 kids speaking lines and while Griffin Burns does a pretty good job, it's missing the charm of the original, especially when paired with Derek Stephan Prince's Ken and Veemon. - Robbie Daymond is doing both Upamon and Armadillomon, uses the same voice for both, and doesn't even attempt a southern accent. They both sound like how Koromon did in Tri. I think I did hear a slight accent on Ankylomon but he only had one line. - I wish Wormmon had more than two speaking lines in this movie as he is my favourite of the season 2 voice cast. Music - It's entirely the Japanese score. No forced in dub raps this time. Other Thoughts - Feel a bit sorry for the girl who was partnered with the Numemon. - Matt shows some reluctance in going after the enemy since battling will shorten the time with their digimon and Tai has to talk him into it. However, this feels a little out of character to me as, at this point, all the other original Digidestined including T.K have been captured so I can't help, but feel like it should be Matt talking Tai into it, especially with Matt having the crest of friendship. Overall I had fun with this movie, but knowing this is the last I'll see of this version of the characters leaves a bitter taste in my mouth due to the story only focusing on two of the eight DigiDestined. I enjoyed the themes of growing up and think Menoa was a good idea for a villain, but feel she could have been expanded on more. It's a good movie, but I can't help but feel there was a great movie trying to get out at times.
2020.09.24 05:20 SnowWarrenSaw Digimon Last Evolution Kizuna Dub
The movie has appeared in theaters here in Australia so I was lucky enough to see the movie yesterday and have a few thoughts. I should point out that I haven't seen the Tri movies despite them sitting on my shelf due to the controversy surrounding them, but I was told they weren't necessary to understand this movie. Story - Enjoyed Gennai's brief cameo, but I feel like he could've contributed more to the plot, particularly since the antagonist is another DigiDestined so logically he might have had valuable information about her, but sadly, it wasn't to be. Aren't Gennai and his colleagues the ones who send out the digivices? They must have known about her. He also couldn't have clarified what happens to the partners after the bond is lost. He just says they "disappear", but obviously the movie implies they survive in some form. I wondered if that just means they return to the Digital World, but I wish they'd stated exactly what happens. Digimon who die in the real world end up as disembodied ghosts, is that it? - Also, what did Menoa do to lose her digimon, Morphomon, at fourteen? We're told battling speeds up the separation, but nothing we're shown indicates the two of them did any battling. For that matter, how did Sora lose Biomon faster than Tai and Matt lost Agumon and Gabumon if she's abstained from the battles? Is the time limit different for each Digidestined or is it that Sora grew up quicker and lost Biomon faster as a result? If that's the case then why hasn't Joe lost Gomamon yet? >! - Sora really got the shaft in this movie. To not only reduce her down to a cameo, but have her lose Biomon OFFSCREEN didn't show much respect to the character. The other kids didn't fare much better and while they are at least a part of the climax, their digimon are quickly sidelined in favor of Gabumon and Agumon. If you liked their mega forms and hoped to see them in Kizuna, you're out of luck. The epilogue also chooses to focus solely on Matt and Tai. Don't get me wrong, I like Matt and Tai, but this is supposedly the finale to this whole story. All these characters to say goodbye to and they're mostly turned into damsels to be saved. The season 2 kids got more screen time than half the originals. I really think all the kids should have been about to lose their digimon and the movie should have been ALL of them reuniting for one final adventure. !< - They point out the kids are minor celebrities, but I wish a little more could've been done with it. - Both this movie and the reboot continue the trend of seemingly unlocking the new evolutions by not giving up and just fighting harder. I miss the days when evolutions were locked behind special conditions like a crest or needing to discover a new side of themselves. When Gennai asked Tai if he had anymore hidden potential at the beginning, I thought that was going to be how the new evolutions would be unlocked. That maybe they would lose their digimon and unlock that potential in their grief, bringing them back for one last fight. How are these odds any worse than the fight against Diaboromon? A bit more context would have done wonders. - I didn't hate the season 2 finale as much as others and prefer it to the kids saying goodbye to their Digimon forever as I find a world where humans and Digimon coexist more interesting instead of a forced return to the status quo. I'm grateful that they did hint towards the finale in a few small ways and leave the door open to it still happening in the form of Tai's thesis. Translation - "Digital Gate"? Are we not calling them "Digiports" anymore or is this something different? - The two times his name is mentioned, Tai refers to Gennai as "Master Gennai". I get that they had mouth flaps to spare from the honorific as I'm guessing they called him "Gennai-sama" in the Japanese version, but they never called him that during the show so they could have changed it to something like "Gennai, it's you!" or "Gennai, you're here!" - Ex-Veemon accidentally calls out his Japanese attack "X-Laser" instead of his English one, "V-Laser". - It's a little frustrating as Jeff Nimbly, who returned to write the script for Kizuna, was so heavily involved with the first two seasons and Digimon as a whole, so if anyone knows what these things were meant to be called, it was him. - When Parrotmon appears, Agumon says, "Polly want a cracker?", which was cute. I realise that line is a cliche so it might be by accident, but I like to think of it as a reference to the first Digimon movie where Tai says it. - There's barely any subtitles in the film as 90% of the onscreen text is already in English. Yolei gets an email from Menoa that's completely in English, but calls her by her Japanese name, Miyako. Later Izzy gets an email that clearly says from "Kari Kamiya". Has anyone who's seen the subtitled version confirm whether this is the case there? Could Toei have sent a different version with all the text translated? But then, Tai's thesis at the end is still in Japanese so I don't know what to think. - In the climax, where I presume the Japanese version had the characters state the movie's title, "Last Evolution", the dub goes for "Final Digivolution" and I'm left wondering: why wasn't that the English title? Voice Work - Nicolas Roye as Matt? He's fine. Didn't blow my mind nor disappoint me. That might be the problem, Nicolas's Matt was inoffensively bland. I'm glad they replaced Vic, but Michael Reisz will always be Matt to me. - Didn't expect to miss Brian Donovan's Davis as much as I did. Davis gets a large chunk of the season 2 kids speaking lines and while Griffin Burns does a pretty good job, it's missing the charm of the original, especially when paired with Derek Stephan Prince's Ken and Veemon. - Robbie Daymond is doing both Upamon and Armadillomon, uses the same voice for both, and doesn't even attempt a southern accent. They both sound like how Koromon did in Tri. I think I did hear a slight accent on Ankylomon but he only had one line. - I wish Wormmon had more than two speaking lines in this movie as he is my favourite of the season 2 voice cast. Music - It's entirely the Japanese score. No forced in dub raps this time. Other Thoughts - Feel a bit sorry for the girl who was partnered with the Numemon. - Matt shows some reluctance in going after the enemy since battling will shorten the time with their digimon and Tai has to talk him into it. However, this feels a little out of character to me as, at this point, all the other original Digidestined including T.K have been captured so I can't help, but feel like it should be Matt talking Tai into it, especially with Matt having the crest of friendship. Overall I had fun with this movie, but knowing this is the last I'll see of this version of the characters leaves a bitter taste in my mouth due to the story only focusing on two of the eight DigiDestined. I enjoyed the themes of growing up and think Menoa was a good idea for a villain, but feel she could have been expanded on more. It's a good movie, but I can't help but feel there was a great movie trying to get out at times. What do you guys think?
2020.09.24 05:05 MardawsMust teach and test? No parties allowed? Sure thing!
My dad recently retired from over 25 years as a high-school photography teacher (I was in his class all 4 years). Before he got into teaching, he co-owned a photo studio and has experience in so many types of photography. This includes food photography, like when you see ads with pictures of food in them (this becomes relevant). At the end of every year, we of course had finals days. Classes would be blocked so would therefore be 2 hours long to give enough time for students to complete final exams. Our high school was very strict on what could be done on those days. One of those stipulations was no parties allowed. Teachers were allowed to show a movie if subject related. Every teacher also had to have a test to complete on that day. My dad decided to have a little fun with those rules. Because of his extensive and proven experience in food photography, he decided to set up a "lecture" and "test" on the subject. He asked that everyone in class bring food in on the last day. There was a sign up sheet to ensure we had variety and had certain items that would be needed. Two things that were always required were mashed potatoes and vanilla ice cream. Other things people brought were drinks, cookies, pasta salads, cheese/crackers, etc. He made sure to have everything set up in the studio beforehand so the "lecture would not take very long. The first thing he did when class started was take a scoop of ice cream and a scoop of mashed potatoes and stick them in front of a studio light. He would spend 5-10 minutes talking about how to photograph food and what types of tricks photographers use to make food look better in pictures. By the time he finished explaining this, the ice cream was in a puddle and the mashed potatoes were still solid and shaped like a scoop of ice cream. It was easy to see his point. Next, he had everyone partner up with a camera. Each student had to choose a food item to photograph and set it up at one of the stations in the studio. There were several stations, so everyone made it through in 15-20 minutes tops. Everyone always got a perfect score on this "test." Once everyone was done, he'd throw on a movie that at least barely touched the subject of photography, even if for only a scene or two. If the dean or principal happened to walk in, he'd pause the movie so the class could "analyze the angles" used in shooting the film and talk about how film was similar to still photography. Of course everyone would have to eat the food too, because it would be such a waste to get rid of perfectly good food! If there was a loophole for him to make teaching fun, leave it up to my dad to find it! Administration could never fault him for any of this because he wasn't technically breaking any rules since he provided instruction on a relevant topic and had a graded assignment.
Disclaimer 1: This is not an attempt at scholarly analysis of the music or a comprehensive exploration of biographical information. Disclaimer 2: I don't recommend listening to Waits' discography all at once.
Personal interaction with the artist
Tom Waits is one of the few artists whose entire discography appeals to me, and his music is, in my mind, anchored not only to the time of day but also the activity I'm engaged in: that time of day being evening/night, and that activity being reclining with a drink in hand. I know that might sound a little bit cliche, but the early albums at least definitely favor that treatment. As I move through Waits' discography, though, being upright and sober is also an acceptable way to listen. Waits was an instant like for me and my family. My wife and teenage daughters adore his music, too, especially the dark cabaret stuff.
Overview of the artist
I'm not here to rehash encyclopedia entries and biographies about the man. The links are below for anyone who wants to dive in. tl;dr, though, Waits' 70s stuff is of the piano blues singesongwriter variety. It all goes down easy. Pretty simple and easy to define, mainly because this was before he met his wife, Kathleen Brennan, whom he married in 1980. His "blood and guilt" Irish Catholic wife had a massive influence on his styles going forward, and in my opinion, it was a positive influence, one that helped Waits spread his creative wings. Of course that influence wouldn't have gone anywhere if Waits wasn't already leaning in that direction. He just needed someone to give him the confidence to take the leap. In the 80s, he went experimental, especially with the rocking Swordfishtrombones. Rain Dogs continued his experimental rock exploration, and he closed the decade with Franks Wild Years, in which he embraced the dark cabaret he'd only dabbled in on the previous two albums. He tried to set aside what he called "the embarrassing baby photos" phase of his career. Then came the 90s (and early 2000s). Keep in mind that Waits is singesongwriter throughout his career. He is just adding other genres to that folk-esque backbone style of his. Experimental rock continues to dominate his discography at this time, too, but let's throw in some blues rock, vocal jazz, and some more of that dark cabaret Waits just does so damn well. I mean, Alice and Blood Money are basically theater pieces anyway! Speaking of theater, Waits was involved in many cinematic and stage projects, his most famous being The Black Rider, but he not only wrote and performed theater pieces and film soundtracks, he was also a prolific side actor in many films. I know that sounds like an oxymoron, but he said it himself: "I'm not an actor. I'm just a guy who does some acting." This is merely the briefest of overviews into the life of a somewhat private and aloof artist who was just as interested in spending time with his wife and three children as making music for public appreciation. If anything has caught your attention so far, and if you're not turned off by Waits' "hobo act", his "pastiche of poverty", Barney Hoskyns' Lowside of the Road: A Life of Tom Waits and Patrick Humphries' The Many Lives of Tom Waits might be a couple biographies you'll want to check out. You might like him if...
you want something to soothe your soul while the whiskey burns your throat
you want the immediacy of singesongwriter
you want the confessional of the universal
you're an outcast
You might not like him if...
you don't like middle-class dudes playing a "hobo" act
you want something to easily sing along to
you want something innocuous in the background
you want something to pump you up
Similar artists and influences
When it comes to similar artists, perhaps it's better to look at the acts that had the biggest influence on Waits. First of all, when Waits was working at a restaurant, he would jot down notes of the diners' conversations, any snippet he found interesting, anything he could use for the everyman down on his luck feeling of his music. Men and women failing at life and yet still able to provide moments of piercing insight. Waits said in an interview that his uncle's gravelly voice intially inspired him. He also rejected the hippie movement and adhered to the Beat movement of the 50s, finding solace in Kerouac's musings. In fact, he later collaborated with William S. Burroughs on a theater piece. Randy Newman and Dr. John were big musical influences on him, and after Brennan introduced Waits to Captain Beefheart, Van Vliet's style was huge. Of course, Bob Dylan's influence loomed large for Waits, as it did for many singesongwriters in the 70s, and Waits once said that if you want to know how to write a song, listen to Merle Haggard. Last.fm attempts to provide a list of similar artists, but this is really just a matter of opinion. I strongly disagree with some of these picks, but here are the top ones: Nick Cave, Leonard Cohen, Bob Dylan, Neil Young, Captain Beefheart, Townes Van Zandt, Lou Reed, Tim Buckley, and Van Morrison. As far as I'm concerned, this is more a list of "if you like Waits, you'll like these" than "these artists are similar to Waits". I guess for me the one in that list the most similar is Lou Reed, not only because of his style but the sometimes sordid always ramshackle content of his music. In a 2005 interview, Waits was asked to list his top twenty albums of all time. These were his choices, and perhaps there are some clear marks of influence herein:
Frank Sinatra - In the Wee Hours
Thelonious Monk - Solo Monk
Captain Beefheart & His Magic Band - Trout Mask Replica
The Rolling Stones - Exile on Main St.
Gavin Bryars - The Sinking of the Titanic
Bob Dylan & The Band - The Basement Tapes
The Lounge Lizards - Lounge Lizards
The Pogues - Rum Sodomy & the Lash
Leonard Cohen - I'm Your Man
Little Richard - The Explosive Little Richard
James Brown - Star Time
Various Artists - Texas-Czech Bands, 1929-1959
Frank Zappa - The Yellow Shark
Various Artists - Aria: A Passion for Opera
Bill Hicks - Rant in E-Minor
Various Artists - Prison Songs (Historical Recordings From Parchman Farm 1947-48), Vol 1: Murderous Home
Marc Ribot - The Prosthetic Cubans
Houndog - Houndog
The Les Claypool Frog Brigade - Purple Onion
Elvis Costello & The Imposters - The Delivery Man _______________________________________________
This album list does not include bootlegs or other recordings not approved by the ever-litigious Tom Waits. The Asylum Years (label formed in 1971 in LA, founded by David Geffen and part of the Warner Music Group).
Closing Time (1973). How many times have I heard this album by this point? It's like seeing the face of an old friend, getting a bit misty-eyed, and enjoying a warm hug from him. This whole album is an embrace. And he's got stories for you... all the things that happened since last you met. Waits has got an eclectic style to his storytelling, too, one you never get tired of hearing. He's just as comfortable going acoustic guitar as he is at sitting behind the piano and plinking out the blues. But Waits is at his best once he's got a few drinks in him and his music turns slowly like an inebriated carousel. Album art zip file link.
The Heart of Saturday Night (1974). Man, Saturday night’s a bitch. Sometimes it’s me putting on a tie, you putting on a dress, and we go out and laugh at the bloodshot moon in the burgundy sky. Other times it’s us fighting like cats and dogs, but that’s all right, I guess, since it’s raining cats and dogs, anyway. While you’re out catching your death walking, I’m so lonesome I might as well be a sailor in the middle of nowhere. Both of us stumbling into the heart of all that revelry and heartbreak. Shiver me timbers, but Saturday night can be a real bitch! Album art zip file link.
Nighthawks at the Diner (1975). This is a weird one. Is it technically a live album or technically a studio album? It's both. Kinda. They wanted to do a live album because that's where Waits thrived. Got him in that rare jazz mood where he can rattle off the coolest one-liners you'll ever hear. But the venues around town were "toilets" in the 70s, so they decided to just invite some people into the studio for two nights to do a live show--but they recorded it using studio equipment in a studio environment. So some people criticize this recording for being fake. Bohemian coffeehouse cool oozes from this album, Waits standing there with a drink in one hand, a cigarette in the other, as he swaggers and stumbles around the microphone, doing what he does best: lowering the temperature of the room with the coolest anecdotes around. Some real laugh-out-loud moments sprinkled here. Album art zip file link.
Small Change (1976). They say that’s Cassandra Peterson (Elvira, Mistress of the Dark), and that those are her real tits. Okay. Cassandra says it’s not her. Whom to believe? Now that that’s out of the way, how about that sour whiskey music? This album gets better with every listen. And how to listen? Just lie back on the sofa, close your eyes, and listen, which isn’t something we often do with music. But that's the treatment this one needs, especially on a cool, rainy afternoon. Small Change seems to me to be a track by track play of a piano player working at a blues bar who likes to partake of the firewater along with the customers, so by the end of Side A, he’s had one too many, and he has to blame it on the piano. Apparently this is a common occurrence, though, because he alludes to his bad liver later on. But everything will be all right, because his shift is just about to come to an end, and he’s looking forward to getting off work and going home to see his girl. The on-album persona aside, Waits did have a real-life drinking problem. Early on he joked that his only drinking problem was when he couldn't get a drink, but later in life he finally enrolled in Alcholics Anonymous. It's all fun and games until the booze threatens to destroy your life. NSFW outtake cover art.
Foreign Affairs (1977). First, there's the album cover. Something critics of Waits might point to and say, "See see! This is what I'm talking about. The pretension." Waits definitely was going for a cover that would represent the film noir mood of his music up to this point. But it's all an act, right? I mean, he's just some guy who grew up in a normal family in a suburban California neighborhood. Right? My rebuttal is: And? Is there no place for theater, for adopting a persona, in music? Waits deliberately lived in neighborhoods that reflected not only the poverty but the bohemian cool that pervades his music. And he's not just a singer; he's an actor, too, so he's got that theatrical sense about him. That's why his live shows use props. Bette Midler guests on this album... perhaps Waits' first misstep. Like his other albums, this one swims in drink. Funny thing about the cover, though: the woman thought she was Waits' girlfiend, but she wasn't. She was just one of the Troubador slags. Album art zip file link.
Blue Valentine (1978). It's Thursday night and close enough to the weekend for a drink. Besides, a little fire in your belly might shake off this damp chill. All her usual bull and excuses and best intentions are scribbled on a rain-soaked postcard in your mailbox. You take it and climb the stairs on dreams, and after your drink, you think you might fall asleep if only the sirens would start. Cover art.
Heartattack and Vine (1980). When you're so far gone in the liquor you think even the rain is a beverage. Anyway, it doesn't take much imagination to understand the implications of the album title, an obvious reference to Hollywood and Vine in Los Angeles, the very heart of the rise of cinema and all its attendant lures into the corruption of innocence. This album is certainly more blues guitar-driven than Waits' six previous recordings, bringing with it even sexier grit (that seems to be obsessed with prostitutes). Like pretty much all his other music, these songs are snapshots into the lives of seedy people who live in the quiet, dark, lonely hours between the closing of the bar and the opening of the circus. This is the final Asylum record, and Waits was contractually-obligated to write it since he owed the label seven albums. You might know Springsteen's cover of Waits' "Jersey Girl"... and I can't help but wonder if the "sha la la la la la las" are indicative of Waits' fatigue with his label. Album art zip file link.
Film Scores (I'm just going to knock them both out here, out of chronological order, since they're not initially connected to any of the label eras.)
One From the Heart (1982). Coppola lured Waits back to LA, taking him away from his newfound love for the NYC creative atmosphere, to write a soundtrack in the vein of Waits' earlier stuff, a sound the singer was trying to break away from. I like to think it was fate that brought him back to the West Coast, because if he'd not torn himself away from NYC, he never would've met his future wife (who worked in the film studio), and the latter part of his discography probably wouldn't have been as wonderful as it is. The beauty of that alone is, in my mind, worth the making of this overwrought, schmaltzy album. I'm sure Crystal Gayle is a fine singer, but her energy just doesn't work when mixed with Waits. There's just something about duets like this that drives me crazy. Like, the back and forth is just so cheesy? Don't think of this as a Waits album; it's a collaboration and as much a Gayle album, which, in my book, is a hard pass. This album is sanitized Tom Waits. Album art zip file link.
Night on Earth (1991). I feel that if people didn't realize this was a Waits album, they'd rate it higher. People bring baggage into a Waits listening experience, and if the expectations aren't met, well, there's bound to be some disappointment. First of all, Waits' voice is conspicuously absent througuhout most of this soundtrack, as the artist decided--unlike with One From the Heart--to focus on instrumentals. Thus this recording lacks the full Waits experience fans grew to love, providing more of an overall noir-jazz soundtrack feel than having anything specifically to do with the voice of the broken-down, boozing loner our itching ears want to hear. Album art zip file link.
The Island Years (label formed in 1959 in Jamaica [moved to London three years later], became part of the PolyGram group)
Swordfishtrombones (1983). Take an unshaven shuffle through the neon rain, with nothing but a pack of dirty playing cards and a lonely heart. Follow the slow parade drumming down some empty town street, remembering all the dirty details of the neighborhood. Dip into the desert a couple times while you’re at it and take in the snapshots of tragic lives, and if you’re thirsty, drink water from a swordfishtrombone. What the hell is it anyway, and is the water any good? Count the number of parties playing in the heads of people you pass every damn day. In Waits' real life, this is his big artistic break from the past, both creatively and professionally. He'd completed his Asylum contract, and this was as good a time as any to move away not only from his producer but his (swindling) manager. Waits and his wife took over managerial responsibilities themselves, and they seem to have done a better job with that side of the business as well. Brennan--his wife--also brings her influences to bear, including giants like Captain Beefheart. Asylum rejected this record, as it was a departure from his previous sound, so Waits took up Island's offer to release it. Album art zip file link.
Rain Dogs (1985). Take every undesirable yet attractive thing you read in a dime-store pulp novel and throw it into a pot stirred by an unshaven vagabond, and you get this bourbon-soaked album. Mad hatters and beat poets doing the polka on this postcard mailed from desolation row. Album art zip file link.
Franks Wild Years (1987). You’re a lonely, heartbroken truck driver going down a dark highway to drop off a load at an amusement park, but the park is abandoned with all the lights on and the rides operating. So you go wild, dragging your heels across the cracked pavement, looking up at the stars and growing ever more dizzy watching them wheel through their orbits. And the narrative of this album plays like a movie in his mind. Album art zip file link.
Big Time (1988). The recordings here were taken from two shows Waits did on separate days in November of 1987. Unlike Nighthawks, however, this is a true live album, part of the overall Franks Wild Years tour, not something contrived for a studio audience. Though Waits never goes full Bowie when it comes to on-stage roleplaying, the singer did adopt for a short time a kind of alter ego in Frank, referencing how he torched his house (in that short, spoken word track) before taking off for the big time. In keeping with the theatricality of the Frank concept, several dramatic audio effects were added in post-production, not only audience applause but also snapping fingers, boot stomping, train whistles, gunshots, and whatnot. Disregarding the post-production shenanigans, though, I find it interesting how some of these songs are re-imagined in a live setting. Waits was fascinated by the idea of the street preacher, and some of that comes out here. Can I get an "amen"?! Album art zip file link.
Bone Machine (1992). This album opens sounding like a bone machine, as if the percussion is being pounded out on the bones of people, the earth screaming like a mother forced to swallow her own increase, her children unable to escape the devouring dirt because we're all chained to her--all because one brother slew another, and the dust cried out for vengeance. Yet this is our home. For all its ugliness, it's beautiful. For all its grit and grime, it's smooth and clean. If you think of Earth as a hotel, you're gonna wanna complain to the manager. But if you think of Earth as a prison, it's pretty damn nice. This album won the Grammy for Best Alternative Album, and when Waits found out, he said to his friend, the filmmaker Jim Jarmusch, "Alternative to what?" Good question, Tom. Waits' wife co-wrote half the songs on this album, demonstrating Brennan's growing influence in the creative evolution of her husband. Album art zip file link.
Bone Machine: The Operator's Manual (1992). This is a long CMJ radio network interview with Tom Waits, featuring tracks from the album of the same name. Part 1, Part 2, and Part 3. This isn't an album, just an interview in which Waits explains what the album is about and the process of its creation and production. He says the albums started with the title, so in that sense, this is a concept. He wanted songs that would fit the title "Bone Machine", so songs that evoke a sense of horror, songs about the inevitability of death, since it is a fact that we all die screaming. And not only us, but everything. The earth first, and eventually the universe. There's no escape. One thing I love about this interview is how he describes songs like they're entities: he describes the creative process in such beautiful metaphorical terms, like when he talks about how a song is "sick", meaning a song isn't working in a certain context or a song is unfinished... it's "sick", and Waits, as a kind of doctor, has to diagnose the song's sickness and help it get better. He also talks about the listener's relationship to songs, saying that an individual song is like a bar of soap. You can hold it in your hand, and sometimes your relationship with the song lasts only as long as a bar of soap, and once it's gone, you move on to the next song. He discusses how his performance aesthetic is changing, too, going from a guy who sat at a piano to a more physical, animal show and how it's connected to the spirit of music that, in some ways, can work as a poltergeist. Perhaps this is connected to Waits getting older and getting angrier, which is why he thinks his percussion has improved. Because he gets to hit shit with more gusto. Waits mentions religion so many times in this interview, which I find interesting, as he's getting it from both his wife and his mother, and that influence finds its way onto the album in frightening clarity. Album art zip file link.
The Black Rider (1993). In some ways, this is like a lot of Waits' other work, but in other ways, it's completely different. It's got all his grit, of course, but as far as I know Waits doesn't have another operatic concept album like this. (He has the "Franks Wild Years" show, but it was never made into a concept album.) Also, this is the only time he strikes me as creepy (not throughout, just in spots). This album isn't as highly regarded as his giant albums, but I think it's worth anyone's time to give it a close listen. It'll make you wince until it goes down smooth and you're craving more. Basically, this is the creative result of a theatrical collaboration Waits had with a stage director and the famous Beat generation writer William S. Burroughs. This opera is a retelling of the German "Freischütz" myth, about a gunslinger who makes a deal with the Devil for a number of magic bullets that unerringly hit their targets. All but one. In a classic Faustian twist, there's one bullet that's under control of the Devil. In this story, a mild-mannered clerk makes the deal to win the hand of a huntsman's daughter. He must prove his worth as a hunter, and with the magic bullets he does, but on his wedding day, the final bullet under Satan's control kills the clerk's young bride. And in a Greek tragedy parallel, the clerk, like Orpheus in his inconsolable grief, disappears from society. Orpheus is driven to wandering and drink, and in the end he is torn apart by Dionysus' maenads. The clerk joins Satan's carnival, losing his heart, soul, and mind to the infernal pleasures of the circus. This work first appeared as a play in 1990 in Hamburg before being arranged into a concept album. Album art zip file link.
The Anti- Years (founded in 1999 in LA, a sub-label of the punk Epitaph, whose ethic is to treat artists like business partners, not slaves, a stance that clearly appealed to Waits)
Mule Variations (1999). Whenever I start a Waits album and try to write some of my thoughts down, I find it difficult to say much because I feel like I lack perspective. When you five-star pretty much an entire discography, you realize you're just a fanboy and therefore aren't sure you have anything useful to say. Here Waits is gritty once again, but it's like he's a hobo singing in some dirty alleyway, singing through a metal can, using whatever he's got within reach for percussion. (A connection to the bone machine?) This music sticks to me like hot summer, sticking to me like unshakable memory. Like most Waits albums, this one, too, is a cathartic experience, but unlike other Waits' recordings thus far, this one is "surrural", meaning the themes are about rural American life, but since they're stories told by Waits, they going to be a bit surreal, aren't they? Waits won a Folk Grammy for this one, having drawn heavily on blues field recordings as the main influence. Yeah, shows that the Grammys don't know their ass from a hole in the ground. Album art zip file link.
Alice (2002). Is there a greater opening track on any album ever, a truer poetic strike to the eyes that'll make you weep through the rest of the 48-minute journey? This entire album is wrapped in madness and death--is the narrator actually singing from beyond the grave (from beyond the rabbit hole)? Nothing creepier than a violin accompanying your soul on its descent into Hell, driven by suicide. Don't worry, though. They've got a jazz bar down there where you, being disembodied, will fit right in. Listen to the champagne laughs, gaze upon the strangled ebony curls, and know what it was once to be alive. This record's got history that goes beyond the mere studio production. Most of these songs were written for Waits' play, Alice, that he wrote with the same theater director who collaborated with him on The Black Rider. The stage Alice debuted in 1992, ten years before this album. So in a sense this album is more rooted in Waits' Island years, the little sister to Bone Machine and The Black Rider. Cover art.
Blood Money (2002). This album has one of my favorite Waits’ songs: “God’s Away on Business”. And if you’ve not seen the Cookie Monster fan video for this, do yourself a favor. I would kill to see one of these dark cabarets live, this one, incidentally, being songs from the Waits/Brennan theater piece, Woyzeck. I’d wear a cravat and a top hat to the affair. I’d put on eyeliner. One last thing: can anyone sing a lullaby like Tom Waits? He can tuck me in anytime he wants and tell me stories about how miserable everything and everyone is. Album art zip file link.
Real Gone (2004). Do you hear a keyboard (piano) anywhere on this album? Maybe I missed it somewhere, but I'm not hearing one. (Okay, I hear some now, but it's barely used.) This is all guitars, and percussion. Sounds like he's flirting with some of those popular indie rock sounds that swirled around the beginning of the century, yet this is typical Waits experimentation, so he makes whatever he's doing his own, transforming it through his dark meditations on sin. Brennan's influences are so strong here that she's basically become a co-songwriter at this point. Here, at the end of his career, the 70s Waits is finally, at last, dead. Some sinister, black ghost has risen in his place, grinning shamelessly. Though this is Waits' only studio album I don't gush over, I understand a little better what he was talking about in one of his interviews: about how he feels angrier as he ages, and how percussion sounds better because of it. If you follow the mule from Mule Variations, it'll lead you into the barn of Real Gone. And if you follow the mule, don't complain when you get dirty. Album art zip file link.
Orphans: Brawlers, Bawlers & Bastards (2006). Imagine Waits being your dad and having him tell you a bedtime story where you're all alone on the planet, the moon is a piece of rotten wood, and the Earth is an overturned piss pot. Imagine Waits being your zoology professor, revealing the brutality and grittiness of slavery and copulation at all levels of the animal kingdom, including you and your neighbors. Imagine Waits doing an album of nothing but Child ballads...oh man, I'm gonna send him a letter! (Seriously, whom do I write for Waits to see this idea?) This is not some kind of greatest hits compilation. Quite the opposite: it's got rarities and unreleased tracks, those orphaned songs that "fell behind the stove while making dinner". You ever clean out the gunk that falls behind the stove? It's greasy, grimy, and probably full of flavor if you could just be brave enough to try it. Them. Not "it". Though these were released together as a three-disc set, they were consciously separated along lines of influence and style. Brawlers explores the blues and consequently rock, Bawlers sees Waits diving into heart-wrenching ballads, and Bastards focuses more on his megaphone-toting, carnivalesque experimentation. Waits excels at all three, of course, but you can pick what to listen to based on your mood or interest. Album art zip file link.
Glitter and Doom Live (2009). Ol' Tom was an indefatigable pursuer of miscreants in the music, film, TV, and commercial industries, and after having successfully sued, like, four major corporations/outlets for using his songs without permission, Waits developed quite the reputation as someone not to be fucked with. He would hunt your ass down if you tried any funny business. Same went for this tour. He had his people require ticket holders to produce valid ID at the entrance to the show, and if the name didn't match the ticket, the concert-goers were denied entry. This was a massive "fuck you" to scalpers. Surely with Tom's litigious history and his tireless pursuit of integrity, the touts should've known better. I'm glad Waits did one last tour at the end of his career so we can hear him revisit his classics across all his albums. Not only the songs but the spoken-word anecdotal parts are snippets taken from ten different shows during the tour. So when you get to disc 2, don't think that Tom just stood there telling stories for 35 minutes straight. Album art zip file link.
Bad as Me (2011). All aboard Waits’ latest (last) studio album! The man is a national treasure, that’s all there is to it. He succeeds at pretty much everything he tries, even here in his 60s, still kicking ass like he did at the beginning of his career, because he based his style on a timeless cool. As always, he’s sometimes smooth as hell, other times wacky and not giving a single fuck. I wonder if this album will end up being the last leaf on his tree. I feel like there's a little bit of everything from Waits' career on this album, from the gypsy rusty-accordion sounds to the growling mud-wrestling vocals to the lonely heartbroken crooning to the feeling of spinning around in circles while staring up into the night sky of a pitiless universe where you then fall down drunk not on wine but on the inevitability of death. Album art zip file link.
2020.09.24 03:56 ThrowAway78616Does horror film and series help you cope with anxiety and depression?
I think watching horror films and reading novels are one of my coping mechanisms because I feel it’s an escapism. Also it gives a new perspective to focus on the important parts in life like emphasis on the importance of impending threats rather than the menial stuffs in life. It made me more thankful about the people I live with and have in my life and I felt lucky in regards of not having a crazy obsessed ex-partnestalker terrorizing my life. Some of my favorite horror TV series gives importance to family and friends like the one called ‘The Haunting of Hill House’ whereas another is ‘Marianne’. I’d watched both series more than two times and have lost count of the time I’d rewatched Marianne on Netflix. I’m less depressed and cope better with my anxiety when watching horror films and series because it is both an escapism and made me more thankful for what I have in life. Do you also think watching horror films and series or novels helps you cope better in life? Or benefits you in any other ways? Any suggestions?
I am currently looking for a new job! I was wondering if anyone was hiring in the downtown Dallas area in any of these specific fields:
Managerial in hospitality or retail
Looking for jobs in the 50k+ range. Thanks! I can send an email with resume immediately but here’s a snapshot/copy and paste: Profile I am an analytical/results driven individual with wide-ranging experience in planning and leading operations involving small to medium sized businesses. I excel in meeting and in many cases over exceeding expectations/KPIs/targets/goals. I am adaptable and excellent at multitasking due to my ability to keep my work flow extremely organized and efficient. I am also a solid and creative communicator which allows me to train, teach and replicate high level results. I’ve also been selected and have undergone regimented business management and marketing training from a fortune top 10 company. I am always eager to advance my knowledge and am now undergoing education to understanding cloud architecture and security. I am proficient in the digital arts and have experience in production on the apparel, film and arts level. I am a team player and a dedicated asset that will do what it takes to go above and beyond to realize the success of the whole. Core Qualifications - Extensive experience preparing and executing business strategies and produce desired results - Strong ability to identify and foresee potential in talent, and needs of the business - Experienced in capturing, converting and handling large accounts and a knowledgeable understanding of finance - Deep knowledge of production software, CRM/ERP systems and related applications, as well as word processing and digital design/editing, Salesforce, DocuSign - Remarkable ability to work effectively in team settings or on an individual basis, Extensive B2B experience Experience SOLAR ENERGY CONSULTANT, SOLAR ENERGY PARTNERS/ILLUM SOLAR, LOS ANGELES — APR 2020 - PRESENT - Work with multiple vendors to source, design and deliver a complete package for clients - Organize multiple moving parts such as dealing with HOA, city permitting/planning, designing systems to go above and beyond client expectations, and working with install partners to complete projects - Use of CRM/ERP type software to manage all processes and - B2B Sales - Generation of new clients and business partnerships to create new opportunities to create sales BRAND AMBASSADOINTERIM MEN’S FLOOR MANAGER, COS, BEVERLY HILLS — APR 2019 - MAR 2020 - Learned retail side of business, business operations and managing product ordering and inventory SALES > STORE LEAD > CORP. MARKETING > ASST. SALES MANAGER, VERIZON TELECOMMUNICATIONS, LOS ANGELES — DEC 2014 - MAR 2018 - Learned how to convert, manage, grow large corporate accounts (MGM, Disney, Sony, Activision, Starwood Capital) - Learned Inventory management with value of 1M, organization and ordering/purchasing through ERP Oracle Systems - Trained and developed teams to hit target KPIs on a weekly, monthly, quarterly basis - Regularly performed analytical evaluations of performance on store/district level against MOM/YOY numbers - Have had extensive Leadership Summits and Marketing Training on corporate levels - Became store B2B/SMB (Small to Mid Sized Business) Manager CREATIVE DIRECTOR, JEPBYJEP STUDIOS, LOS ANGELES — NOV 2015 - PRESENT - Consulting on films from sourcing talent, equipment and locations, to writing, directing and producing services - In-house consultation/execution on apparel design, development, sourcing and production start to finish - A hunter in search for clients/B2B Services SALES > INTERNET MANAGER > INTERNET DIRECTOR, PERFORMANCE NISSAN, LOS ANGELES — MAY 2011 - SEPT. 2014 - Performed dealer trades, typing (desking) deals, and financing - Trained and managed a team of 5 internet managers - Knowledge of Reynolds and ADP (CDK) - Ranked top 5% in the district/top 5% in the region, top 8% in the nation while maintaining 96.5% Customer Satisfaction rating Education California State University, Northridge - Business Management & Cinema and Television Production Arts 2010 Fashion Institute of Technology, New York - Menswear Design, Marketing and Merchandising, Production 2013
2020.09.23 23:58 Coal_miner33AITA for saying something to workers next door?
Woke up today to townhouse neighbors having their roof replaced. I (30s female) look outside and see the roofing workers' (7 big dudes) trucks have the street blocked off in front of our house and are dragging heavy equipment past our car in our driveway (I see one guy place his hand on car for balance). My partner (40s male) asks the guys to move so he can move his car out of the way. They do, but then go back to blocking the street. A few hours go by of loud noise - 4 guys on the roof and 3 guys out front "overseeing", talking and smoking in our driveway where our car had been and on the walkway leading up to our house. Also a pile of shovels and some orange cones in our driveway. We don't say anything. Go out back and see that one of the guys is on our roof walking around. At this point I go out front and say to the lead looking guy "Hey, one of your guys is on our roof. We'd rather he not walk on our roof. Also where you're hanging out right now and have your materials is our driveway and walkway. Can you please move?" He says "Where are we supposed to go??" I say I don't know but this is our property. I look out a few minutes later and now the 3 of them are standing in our driveway smoking and one of them spits on our driveway. I start filming on my phone. The guy spits again so I get all this on about a 15-second video. Call the company. Owner says he's worked with the guys for years and this doesn't sound like them but he will call to tell them to move. I say "yeah, they probably act completely differently in front of you." They don't move - at this point they have also ordered lunch and are eating. The owner calls me back and says "I talked to them and told them to move but they said they weren't on your property." I text him the 15-sec clip. He responds "Wow. This video clearly shows my guys are lying. This doesn't represent my company at all. I'm sorry." A few minutes go by and I open the door to go to an appt and lead guy says "Did you call my boss? You lied! I wasn't on your property!" I said "Yes you were and I have video". I shut the door scared to leave now and he starts yelling "You fucking liar! If I didn't work for (company name) I would be mooning and cussing you right now!" I was actually scared at that point, called owner back and said I was thinking of calling cops. The owner came and dismissed yelling guy for the rest of the day. My neighbor (who thought I was just complaining about the noise) knocked on our door and said next time I have a problem with workers at their house to let them know first. AITA? Worse - should I be scared? It escalated, the guy became unhinged and I'm actually worried he'll come back to retaliate. If I had it to do all over again, I wouldn't have said anything.
2020.09.23 23:43 Idioteque--34 [M4F] Central US - I have seen too much, I haven't seen enough
Hi there! My name is [redacted], and you must be (unknown). It's very nice to meet you, (unknown)... What a beautiful name you have. I know it might sound a little peculiar, but I feel like we should have met much sooner, and under different circumstances. But you're here now, and that's all that matters to me. I would like to tell you something, (unknown), and I've wanted to tell you this for some time. I would like to be with you, preferably for as long as we can. I know it sounds a little too ideal, especially with us having just met like this, but I would love to be your partner, your best friend, if you'll let me. I want to support you, and help you. I want to fight for you so much, and I hope you will do the same for me, as well. We don't have to like the same things, or have similar interests. It would be nice, of course it would... But I realize that your interests are what make you, well... you. And it's why I like you so much, (unknown). Now, I know what you're probably thinking... Sure, I may not be an Abercrombie model (probably too old for that now), or featured on the latest issue of Men's Health, but I think I look okay. Perhaps even a little more than okay... Could I look better, feel better about myself? Definitely! I think everyone wants that about themselves. I don't always have the motivation to be better, though. I want to change that, though, with you, (unknown). I want someone to be better for. I currently live in [redacted], but have wanted to move elsewhere for a long time. I have a few places in mind, but I'm not sure if I would ever be able to do so. I have a decent job. It's not the best, but it keeps me fed, at least. I like a lot of things that most others my age enjoy: music, watching films and shows, playing games, being outdoors in a nice park somewhere, traveling when I can. I'm also into technology and try to keep up with all that's going on in that area. I don't drink or smoke, have no tattoos and don't plan on getting any. I would prefer it if you were at least similar in those regards. I'd like you to be confident, sympathetic, caring, understanding... I'm sure I have issues and fears about things. Surely you might have some yourself, and we could discuss how to get through them together. I don't have children yet, and I'm not sure if I would want to in the future. It depends, I guess. I don't have a particular age range that I'd like you to be, and I hope you don't mind my age as well. I also prefer communicating with text, at least at first. I might be up for more ways of communication later, if both of us don't mind them. I should probably leave it at that for now... I don't want to give too much away here and not have anything to talk about with you, (unknown). I hope that we can talk very soon. I can't wait!
2020.09.23 20:16 soeffedWong Kar-wai wrote a sequel to Chungking Express and it’s currently in pre-production
The news just broke in the Chinese media a few hours ago: a sequel Chungking Express (1994), one of the best films of the last 30 years and one that inspired Tarantino to cry tears of joy, is getting a sequel. In April, the China Film Administration approved the script for a project titled ‘Chungking Express 2020’ written by Wong Kar-wai (all theatrical releases in China have to get approved before they shoot). The gist:
In 1990s Hong Kong, the lovelorn Policeman No. 223 encounters a blonde female assassin. They only spend a short time together overnight. The Policeman No. 663, getting over a failed relationship, has his life gradually changed by a "dreamer" who broke into his apartment. In Chongqing in 2036, young Xiaoqian and May are unwilling to be matched with their genetically-assigned partner, and are determined to find their own "destiny".
2020.09.23 17:54 StevieJ0Film 'Roads Not Taken' no subtitles for the Spanish bits?
Saw this 'tough' film In UK Cineworld There are scenes with Bardem and Salma Hayek in Spanish. The screen didn't have subtitles for any of these scenes. Is that intentional? As the film is a little 'tough' as it is... it really just makes you want to give up hope a bit, if the film is trying to be as obtuse as it can. Anyone else see it in the UK? Did those scenes have subtitles? If they did, aren't those the sort of subtitles that are 'hard coded' onto the cinema's version of the print/file? And did anyone enjoy the film. I feel more like I should get a T-shirt for surviving until the end. My partner bailed about an hour in... though that might have been as I refused to give her any of my popcorn
2020.09.23 17:47 LadyBleuuu19 [F4M] Earth - just your local (or not so?) aspiring paramedic, looking for new friends to voice/video chat with!
Hi everyone! The name's Bleu, (https://imgur.com/a/7GW6ZBy )or at least, that’s what people call me here. What’s your name? I’m 19, female, from Kent in the South East of England! Most would describe my style as quite alternative, bright blue and pink hair (message me with a guess of how many different colours I’ve dyed my hair ;)), used to wear the big boots and a lot of black to go with it but not so much anymore. I’m also an aspiring paramedic! This year has been crazy both personally and generally, what with COVID and everything else that’s going on in the world. But also with my own health, it was a wild start to the year. Musically, I’m into more or less everything (I also play, I play the double bass and piano however I haven’t played in a very long time), I’m super into electro-swing at the moment though so artists like Parov Stelar and Caravan Palace are great. Having said that, according to Google, my favourite song at the moment is Hip-hop/Rap. (Who’s that, what’s that? - Niko B). I also love rock and metal; System of a Down, Palaye Royale, IDLES, Placebo, Alkaline Trio as all sick bands so you should check them out if you haven’t already! As I’m typing this I’m listening to Duran Duran - The Chauffeur. Indie music is also my jam; We Are Scientists, Two Door Cinema Club and Imagine Dragons are p cool. Some other cool random artists are: Levela, Macky Gee, Gentleman’s Dub Club, Kamaal Williams, Florence + The Machine and Emilie Autumn. I have loads more so if you’re into weird or trendy music hit me up! I might have a tune or two for you! In terms of TV, I don’t actually watch a lot of TV anymore and I very rarely watch any movies. However, I am a huge Skins fan (UK version, sorry guys from across the pond >.<). I also really enjoyed Black Mirror, Breaking Bad, Dexter, Orphan Black, Orange Is The New Black, Wentworth Prison and Call The Midwife. I love documentaries, typically true crime or medical programs (such as Ambulance, 999: After dark, 999: What’s your emergency?). Films-wise, I honestly couldn’t tell you, I haven’t been to see a movie for around 6 years and I haven’t watched a film on Netflix for a very long time either. In terms of other interests, my favourite thing to do is spend time with people, whether that be in person or over the phone. I like getting to know people, how their mind works and hearing about their aspirations and everything that makes them them. I also like to play xbox and I might be getting a new PC soon :o so I might get back into PC gaming. I also really enjoy doing my makeup, both doing your ‘usual’ glam makeup and playing with the more eccentric or different looks - I am looking into teaching myself how to do prosthetics. I'm also a huge animal-lover - I have 6 cats!). I love body mods as well! I have 6 small tattoos and 9 piercings (they're all in my ears and face). In terms of what I’m looking for, I’m just looking for some chill people to talk to and build a friendship with and see what happens, however I must express that I am not currently looking for a romantic/sexual partner. Please be someone who enjoys voice chats and video calls as I’m not a great fan of texting. It’d also be really cool if we can game together! Age doesn’t matter to me, (18+ of course) and nor does gender. If you made it to the end, thank you! If not, tl;dr:
19/f/uk, aspiring paramedic, basically looking for new people to platonically voice/video chat with.
FB AVR job listings Display Optical Engineer - At Facebook Reality Labs Hardware, we’re developing the future of Portal, virtual reality (VR) and augmented reality (AR) products. As a Display Optical Engineer, you will be a member of our Display and Optics organization, taking a lead in OLED optics architect to sets the technical goals, lead the development of leading-edge OLED optical designs & optimized metrology system for up-to-date product, and works with the current and evolving ecosystem to provide differentiating capabilities to our HW platforms. You will be part of a tight-knit group of highly talented engineers at the forefront of the innovation for AVP and portal products. Display Optical Engineer Responsibilities
Responsible for display optical design of FB consumer product projects.
Set up the optical simulation flatform to combine OLED stack up design and optics modeling including micro optical features for FB product development.
Lead engineering activities on advanced OLED stack up optical simulation for targeting performance for new display applications & set up the validation process.
Work closely with cross functional teams and external display partners to develop the future display technologies and bring up devices for new requirements.
Design of Experiments (DOE) to internal teams and external partners.
Closely work with the operations team in yield enhancement and process improvement for the OLED process tolerance impact optical analysis.
Ability for 30% traveling.
PhD degree in Electrical, Material, Optical Engineering, or Physics with 3+ years experience in the field of OLED device optical simulation or BacheloMS degree in Electrical, Material, Optical Engineering or Physics with 5+ years experience in the field of OLED device optical simulation or equivalent experience.
In-depth experience and knowledge of display optical requirement definition, characterization, and performance optimization.
In-depth background knowledge of optics and sophisticated optical simulation technique.
In-depth experience with optical device characterization and optmizations.
Hands-on experience in optical device design, development, prototyping and building optical instrument.
Knowledge in scientific programming, signal processing and data analysis.
Thin film process in-depth knowledge for organic & inorganic layers handling.
Experience driving technology based on AM OLED.
Understanding of display technologies, display electrical design, and display module structure.
Failure analysis with AMOLED products and process DOE performed experience.
Machine learning experience.
OLED Image Process Engineer- At Facebook Reality Labs Hardware, we’re developing the future of Portal, virtual reality (VR) and augmented reality (AR) products. As an OLED Image Processing Engineer, you will be a member of our Display Hardware Team, taking a lead in executing display De-mura and De-burn in compensation of OLED display, and working with current and evolving ecosystem to provide differentiating capabilities to our HW platforms.You will be part of a tight-knit group of highly talented engineers at the forefront of the innovation for FB HW products (AVR, portal etc.). OLED Image Processing Engineer Responsibilities
Work closely with display and DDIC vendors to create AMOLED burn-in and Mura modeling and verify the compensation algorithms.
Improve the OLED display quality with optimizing OLED Device optics and LT modeling and verifying algorithms in display electronics.
Work closely with display IC, and panel vendors throughout the design and sample and engineering validation phase for demura and burn-in compensation.
Ability to travel both domestically and internationally.
PhD or MS degree in Optical/electrical engineering or equivalent work experience.
Knowledge of OLED degradation model and experience hand-on modeling experience.
Knowledge of display driving and optics system of AMOLED display.
Experienced in driving cross-functional projects.
Cross-functional teamwork skills.
Experience with AMOLED external compensation algorithms.
Experience with compensation algorithms development.
Python and Matlab coding for image processing.
Experience with De-mura and de-burn in compensation for AMOLED display.
Source: https://www.reeladvice.net/2020/09/enola-holmes-movie-review.html "Enola Holmes" was quite a charming and entertaining film experience. At the helm was its all-star talented cast that did not disappoint at all. But the achilles heel for the film was its unconvincingly simple plot and mystery that even non-sleuths could have deciphered handily. On the morning of her 16th birthday, Enola Holmes (Millie Bobby Brown) discovers that her mother (Helena Bonham Carter) is missing - without any clear reason why. Worried, her two older brothers, Sherlock Holmes (Henry Cavill) and Mycroft (Sam Claflin) decide to go home and take care of Enola. Mycroft, having Enola under his wings, sends her away to a finishing school for proper young ladies. But the free-spirited Enola refuses to follow and escapes to search for her mother in London. But on her way to London, she finds herself having a chance encounter with a young man (Louis Partridge) who also ran away from home. Soon Enola unravels a conspiracy that's connected with the young man that threatens to set back the course of history. She decides to investigate, to help the young man, and to stop whoever is behind the conspiracy. With the care-free, fourth wall breaking character of Enola Holmes, the film had us entertained from start to finish. In fact, it had all the basics in tow. There's the central mystery of her missing mother, some basic sleuthing, a major twist, and even well-choreographed fight scenes to boot that made this surprisingly action-packed on some level. Central to this was the versatile acting of Millie Bobby Brown. This is the first-time we've seen her work on a project that's actually upbeat that demanded different ranges of emotions from innocent, to charming to ferocious to even dramatic and she was able to convey each of her scenes naturally and easily. The supporting cast was also great. Louis Partridge as Viscount Tewksbury provided the perfect partner-in-crime for Enola Holmes. Henry Cavill and Sam Claflin had limited screen time but made sure they performed marvelously with what they had. The biggest disappointment for "Enola Holmes" was its overall mystery and how it eventually develops. For us, the narrative structure was actually great and the way it handled the issue of feminism was never forced and well-integrated but the actual mysteries and the sleuthing involved within the narrative was quite simple and straight-forward. It definitely did not surprise us - at least not as much we hoped for a Holmes experience - and left us quite dissatisfied. The film also felt like its planning to have sequels involved in the future, which we think is a welcome development if ever that happens, but in exchange the mystery regarding her missing mother was never really fully unveiled. Overall, "Enola Holmes" did enough to be a great first salvo. It will entertain you most of the way and sets up a universe that we found ourselves excited to experience more of in the near future. Rating: 4 out of 5
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